CHINESE,  COREAN,  AND 
JAPANESE  POTTERIES 


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THE  DEVINNE  PRESS 
CERTIFIES  THAT  THIS  COPY  OF 
"CHINESE,  COREAN  AND  JAPANESE  POTTERIES” 


IS  ONE  OF  AN  EDITION  LIMITED  TO  FIFTEEN  HUNDRED  COPIES 
PRINTED  FROM  TYPE  FOR  THE  JAPAN  SOCIETY 
IN  FEBRUARY,  NINETEEN  HUNDRED 
AND  FOURTEEN 


Digitized  by  the  Internet  Archive 

in  2016 


https://archive.org/details/chinesecoreanjapOOjapa 


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No.  287 


CHINESE,  COREAN 
AND  JAPANESE  POTTERIES 

DESCRIPTIVE  CATALOGUE  OF  LOAN  EXHIBITION 
OF  SELECTED  EXAMPLES 

THE  CHINESE  AND  COREAN  AUTHENTICATED  BY 

R.  L.  HOBSON,  B.A. 

OF  THE  BRITISH  MUSEUM,  LONDON, 

AND  THE  JAPANESE  BY 

EDWARD  S.  MORSE,  M.  A. 

OF  THE  MUSEUM  OF  FINE  ARTS,  BOSTON 

AXL  EXHIBITED  UNDER  THE  AUSPICES  OF 
THE  JAPAN  SOCIETY,  AT  THE  GALLERIES  OF  M.  KNOEDLER  & CO., 

■ No.  556  FIFTH  AVENUE,  NEW  YORK,  MARCH  2-21, 1914 

WITH  ILLUSTRATIONS  IN  COLOUR  AND  HALF-TONE,  AND  WITH 
A REPORT  ON  EARLY  CHINESE  POTTERIES, 

COMPILED  FROM  ORIGINAL  SOURCES  BY 

ROSE  SICKLER  WILLIAMS 


NEW  YORK 
JAPAN  SOCIETY 
1914 


Copyright,  1914,  by 
JAPAN  SOCIETY 


COMMITTEE  ON  THE  POTTERY  EXHIBITION 


SAMUEL  T.  PETERS 
CHARLES  L.  FREER 
D.  J.  R.  USHIKUBO 
MATAICHIMIYA 
ALEXANDER  TISON 
HOWARD  MANSFIELD 
LINDSAY  RUSSELL 


EUGENE  C.  WORDEN 


CONTENTS 


PAGE 

Foreword  by  the  Asiatic  Institute xi 

A Report  on  Keramic  Wares  of  the  Sung  Dynasty, 
by  Rose  Sickler  Williams 

Introduction 3 

Keramic  Wares  of  the  Sung  Dynasty 5 

Famous  Kilns  of  the  Sung 9 

Minor  Kilns  of  the  Sung 49 

Wares  of  the  Yuan  Dynasty 53 

Glossary  of  Chinese  Terms 55 

Chinese  and  Corean  Exhibits 

Prefatory  Note  by  R.  L.  Hobson,  B.A 63 

Catalogue  of  Chinese  Exhibits 65 

Catalogue  of  Corean  Exhibits 99 

Japanese  Exhibits 

Prefatory  Note  by  Edward  S.  Morse,  M.A 113 

Catalogue  of  Japanese  Exhibits 115 


LIST  OF  ILLUSTRATIONS 


No.  287  . 
1 . 
2 . 

3 . 

4 . 
9 . 

12  . 
15  . 
20  . 
26  . 

33  . 

34  . 
36  . 

54  . 

55  . 
60  . 
61  . 

75  . 

76  . 
81  . 
82  . 
83  . 
85  . 

93  . 

94  . 

95  . 
110  . 
117  . 
126  . 
131  . 

135  . 

136  . 
140  . 


. Sung  Chiin-yao  bulb  bowl  . 

. Tall  Ninsei  tea  jar 

Zeze  tea  jar 

Satsuma  tea  jar  .... 

. Bizen  tea  jar 

. Takatori  tea  jar  .... 

. Kyoto  tea  jar 

. Izumo  tea  jar 

. Yatsushiro  tea  jar  .... 

. Kenzan  tea  bowl  .... 

. Yeiraku  tea  bowl  .... 

. Ninsei  tea  bowl  .... 

. Mokubei  tea  bowl  .... 

. Oribe  water  jar  .... 

. Iga  water  jar 

. Shigaraki  water  jar  . 

. Iga  water  jar 

. Shino-Oribe  hand-warmer  . 

. Shino-Oribe  hibachi  (fire  bowl) 
. Oribe  water  bowl  .... 

. Shigaraki  bowl  .... 

. Ofuke  bowl 

. Bizen  vase 

. Satsuma  flower  vase  . 

. Karatsu  vase 

. Tall  decorated  Satsuma  jar  . 

. Grey  Korai  bowl  .... 

. White  Korai  vase  .... 

. Corean  decorated  vase  . 

. Corean  wine  pot 

. Corean  wine  ewer  ... 
Corean  wine  ewer 
Corean  vase 


Frontispiece 
Facing  page  117 

“ “ 117 

“ “ 117 

“ “ 117 

“ “ 117 

“ “ 117 

“ “ 117 

“ “ 117 

“ “ 118 

“ “ 118 

“ “ 118 

“ “ 118 

“ “ 121 

“ “ 121 

“ “ 125 

“ “ 121 

“ “ 125 

“ “ 125 

“ “ 118 

“ “ 118 

“ “ 118 

“ “ 121 

“ “ 127 

“ “ 127 

“ “ 128 

“ “ 106 

“ “ 102 

“ “ 104 

“ “ 106 

“ “ 106 

“ “ 106 

“ “ 102 


LIST  OF  ILLUSTRATIONS 


No.  141  . 

146  . 

147  . 
150  . 
207  . 
213  . 
216  . 
228  . 
232  . 
237  . 

264  . 

265  . 

266  . 
268  . 
269  . 
280  . 

293  . 

294  . 
296  . 
299  . 
307  . 
318  . 
323  . 
327  . 

334  . 

335  . 
337  . 
341  . 
348  . 
361  . 

367  . 

368  . 
370  . 


. Corean  plaque  book  cover 

. Corean  pear-shaped  bottle 

. Corean  vase  and  stand 

. Large  Corean  jar 

. Soft  Chiin  vase 

. Soft  Chiin  water  dropper 

. Soft  Chiin  large  globular  vase  .... 

. Chiin-yao  saucer 

. Chiin-yao  bowl -.  . . . 

. Chiin-yao  bowl 

. Chiin-yao  vase 

. Chiin-yao  incense  jar 

. Chun-yao  large  jar 

. Sung  Chun-yao  bulb  bowl 

. Sung  Chiin-yao  bulb  bowl 

. Sung  Chiin-yao  bulb  bowl 

. Pair  Sung  Chun-yao  flower  pots  and  stand 

. Sung  Chiin-yao  bulb  bowl 

. Sung  Chiin-yao  flower  pot 

. Sung  Chiin-yao  flower  pot 

. Large  Ko-yao  vase 

. Sung  celadon  vase 

. Chien-yao  bowl 

. Large  Chien-yao  bowl 

. Tz'u-chou-yao  vase 

. Tz'u-chou-yao  vase 

. Tz'u-chou-yao  jar 

. Egg-shell  coupe 

. Ting-yao  saucer 

. White  graceful  ovoid  vase 

. Ostrich  egg  vase 

. T'u  Ting  square  white  vase 

. Kuangtung  ware  vase 


Facing  page 


««  £« 

««  46 

44  44 

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44  44 

44  44 

44  44 

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98 

104 

104 

109 

69 

88 

67 

69 

69 

60 

75 

75 

76 
79 
79 

79 

80 
67 
80 
83 
85 

87 

88 
88 
90 
90 
90 
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69 


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44 


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“ 96 

“ 95 


FOREWORD 


At  the  request  of  the  Committee  of  the  Japan  Society,  when  the  So- 
ciety’s exhibition  of  Sung  pottery  was  determined  upon,  the  Asiatic 
Institute  inaugurated  investigations  in  China  and  Corea,  and  commis- 
sioned Mrs.  Rose  Sickler  Williams,  in  Peking,  to  make  researches  into 
native  and  foreign  sources  and  to  formulate  a report.  The  object  aimed 
at  was  to  bring  together  more  knowledge  of  the  subject  than  was  con- 
tained in  any  hitherto  published  consecutive  document,  to  free  facts 
earlier  presented  from  irrelevant  material,  to  add,  by  researches  on  the 
ground,  something  not  previously  known  to  us,  and  to  arrange  the 
whole  in  a clear  form.  Chinese  books,  collections,  kiln  sites,  and 
shards  have  been  examined,  and  Chinese  and  foreign  works  compared. 
Of  the  result,  as  embodied  in  the  accompanying  Report,  it  may  be  said 
that  what  is  true  in  the  existing  Chinese  and  foreign  works  on  the  sub- 
ject of  Sung  Dynasty  pottery  has  been  found  out,  and  a quantity  of 
what  is  untrue  has  been  detected.  Consideration  has  been  given  to  the 
true  artistic  taste  and  genuine  antiquarian  instincts  of  the  Chinese  con- 
noisseurs, allowance  has  been  made  for  what  is  called  the  unscientific 
knowledge  of  Asiatic  authorities,  and  care  has  been  taken  in  weighing 
the  evidence  of  Chinese  literature  and  in  accrediting  the  work  of  for- 
eign writers. 

Asiatic  Institute. 


December  29, 1913. 


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■ *^x, 


A REPORT  ON 

KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

BY 

ROSE  SICKLER  WILLIAMS 


INTRODUCTION 


IN  presenting  the  following  work  to  the  public,  the  author  desires  to 
state  that  the  period  assigned  for  research,  on  a subject  of  such 
magnitude,  was  brief.  It  also  was  coincidental  with  the  “Second 
Revolution”  in  China,  and  conditions  have  been  somewhat  unfavour- 
able to  scientific  research.  Nevertheless,  it  is  believed  that  valuable 
sources  of  information  have  been  unearthed,  from  which  yet  greater 
knowledge  may  be  expected  in  the  future. 

The  sincerest  thanks  of  the  author  are  due  to  the  many  friends  who 
have  aided  in  her  investigations,  both  by  submitting  their  collections 
for  examination  and  by  contributing  information.  The  list  is  too  long 
to  be  published;  but  special  mention  should  be  made  of  H.  I.  H.  Prince 
P'u-lun,  H.  E.  T'ang  Shao-yi,  H.  E.  Sheng  Hsuan-huai,  (Chao)  Ch'ing 
K'uan,  Hon.  King  Kung-pah  of  Peking,  Dr.  Chao  S.  Bok  of  Tangshan 
Engineering  College,  Mr.  Chun  Chik-yu  of  Hongkong,  and  Mr.  Kuan 
Mien-chiin  of  Peking.  The  unfailing  and  painstaking  courtesy  and 
kindness  of  these  men,  and  their  deep  interest  in  the  ancient  arts  of 
their  country,  promise  much  for  the  future  of  antiquarian  research  in 
China. 

Hearty  thanks  are  also  due  to  Dr.  Morrison  for  the  free  use  of  his 
unique  library,  which,  we  believe,  contains  practically  all  the  books 
and  pamphlets  that  have  been  published  in  English  and  French  on  the 
subject  of  Chinese  pottery. 

The  native  works  consulted  are  the  Hsiang  Yiian-p'ien  Catalogue  (in 
the  original  and  in  Dr.  Bushell’s  translation),  the  T'ao  Lu  (in  the  orig- 
inal and  in  the  French  of  Julien),  the  T'ao  Shuo,  and  the  Ko  Ku  Yao 
Lun.  Citations  from  other  Chinese  works,  which  will  be  found  in  the 
text,  are  quoted  in  those  above  mentioned. 

Among  English  writers  consulted  are  Hirth,  Bushell,  Brinkley,  Hip- 
pisley,  and  Hobson. 

i:3n 


KERAMIC  WARES 
OF  THE  SUNG  DYNASTY 


THE  SUNG  PERIOD 

The  Sung  dynasty  was  established  in  960  a.d.  by  Chao  K'uang-yin,  who 
adopted  the  dynastic  title  of  T'ai  Tsu.  His  great  task  was  to  consolidate 
the  empire  after  the  confusion  and  military  despotism  of  the  Wu  Tai, 
or  Five  Dynasties.  During  his  reign,  and  that  of  his  brother  and  suc- 
cessor Tai  Tsung,  this  was  fairly  well  accomplished,  but  the  Empire  of 
the  Sungs  was  never  at  peace.  The  Kitan  Tartars  encroached  upon  it 
from  the  northeast,  and  the  Kingdom  of  Hsia,  led  by  a pretender  of  the 
imperial  family,  from  the  northwest.  The  Sungs  were  not  successful 
warriors.  They  pursued  a policy  of  compromise  and  retreat,  some- 
times making  ignominious  terms  with  their  enemies,  and  finally,  in 
1126-27,  falling  back  to  the  south  of  the  Yangtse  River  and  leaving  the 
north  in  the  possession  of  the  Kin  Tartars.  Here,  with  the  great  river 
as  a barrier,  though  still  continually  harassed  by  their  enemies,  they 
managed  to  maintain  themselves  on  the  throne  until  1278. 

But  it  is  not  with  their  military  vicissitudes  that  we  have  to  do.  What 
interests  us  is  that,  in  spite  of  these,  they  succeeded  in  making  their 
period  a golden  age  in  China  in  philosophy,  art,  and  literature.  They 
produced  the  great  historian  Ssu-ma  Kuang;  the  socialist  reformer 
Wang  An-shih,  who  lived  to  see  his  system  cast  down  and  discredited, 
but  whose  spirit  still  goes  marching  on;  Chu  Hsi,  whose  commentaries 
on  the  classical  writings  have  been  the  standard  of  orthodoxy  ever  since 
his  time;  the  inspired  poet,  statesman,  and  philosopher  Su  Tung-p'ei; 
the  prince  of  painters  Li  Lung-mien;  and  a whole  galaxy  of  immortals 
who  may  not  be  mentioned  here.  To  the  honour  of  the  Sung  rulers  let 
it  be  said  that,  during  their  entire  period,  every  phase  of  culture  blos- 
somed and  bore  fruit  under  the  sunshine  of  imperial  patronage.  It 

US] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

was  during  their  time  that  the  Chinese  potter  rose  from  the  rank  of 
artisan  to  that  of  artist,  and  it  is  with  this  achievement  that  we  have 
chiefly  to  deal. 

CHINESE  POTTERY  BEFORE  THE  SUNG  PERIOD 

For  the  keramic  products  of  the  Chou  and  Han,  see  “Chinese  Pottery 
of  the  Han  Dynasty,”  by  Berthold  Laufer.  This  work  is  based  on  per- 
sonal investigations  made  by  the  author  from  1901  to  1904.  The  pieces 
described  were  mainly  collected  in  FIsi-an  Fu,  province  of  Shensi, 
where  they  had  been  dug  from  graves  of  the  Han  period.  They  are  all 
of  the  earthenware  class,  and  the  prevailing  glaze  is  green. 

Since  Laufer’s  work  was  published,  very  extensive  and  important 
finds  have  been  made,  chiefly  along  the  line  of  the  Pien-Loh  Railway  in 
Honan.  Peking  is  flooded  with  these  specimens,  as  well  as  with  clever 
imitations  encouraged  by  the  demand  for  the  originals.  The  collection 
of  these  articles  has  become  quite  a vogue,  both  with  Chinese  and  for- 
eigners. They  are  well  worthy  the  careful  consideration  of  an  expert, 
and  demand  a volume  to  themselves.  Native  connoisseurs  believe  that 
the  Honan  finds  date  from  the  Han  downward  through  the  Sung  and 
Yuan,  and  hold  that,  in  a general  way,  it  is  possible  to  approximate  the 
date  by  the  costuming  of  human  figures,  the  character  of  the  glazes,  etc. 
Laufer’s  work  does  not  give  any  human  figures,  and  gives  but  a sub- 
ordinate place  to  animals,  though  these  form  a very  important  part  of 
the  more  recent  discoveries.  The  various  vessels,  granary  urns,  stoves, 
etc.,  described  by  Laufer  are  now  easy  to  procure  in  the  Peking  shops. 
It  should  not  be  very  difficult  to  detect  the  imitations.  Many  of  the 
mortuary  pieces  of  a later  date  than  the  Han  rise  above  the  rank  of 
earthenware. 

Under  the  Wei  dynasty  (220-265)  two  old  potteries  are  mentioned  as 
having  prepared  ware  for  the  service  of  the  court.  But  probably  the 
earliest  kiln  whose  work  rose  above  the  quality  of  wa,  or  earthenware, 
was  the  Tung-ou,  in  what  is  now  the  province  of  Chehkiang.  This  work 
dates  from  the  Tsin  (265-419),  and  it  is  mentioned  in  the  Ch'a  Ching,  or 
Tea  Classic.  The  glaze  was  green. 

C6] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

Ching-te-chen  as  a keramic  centre  began  to  attract  attention  as  early 
as  the  beginning  of  the  seventh  century.  The  place  was  then  known  as 
Ch'ang-nan.  A potter  who  worked  there  under  the  Sui  (589-618)  pro- 
duced a green  ware  which  obtained  for  its  fabricator  the  sobriquet  of 
Tao  Yil,  or  “Keramic  Jade.”  It  is  said  that  the  celadons  had  their  ori- 
gin in  the  attempts  to  imitate  jade,  and  that  white  jade  was  the  early 
ideal  striven  after  in  the  white  wares.  At  this  early  date  the  Ching-te- 
chen  (or  rather  the  Ch'ang-nan)  kilns  were  already  distinguished  by 
imperial  patronage. 

Under  the  T'ang  dynasty  we  should  mention  the  Shou  yao,  a yel- 
lowish ware  made  in  the  province  of  Anhui;  the  Yiieh  yao,  a greenish 
ware  compared  to  ice  and  jade — a decided  improvement  on  its  prede- 
cessors, if  we  may  judge  by  the  enthusiastic  comments  of  the  Ch'a 
Ching  and  other  old  books;  the  Shu  yao,  a white  ware  made  in  Ssu- 
chuan  and  praised  for  its  timbre;  and  lastly  the  Pise  yao,  or  “secret 
colour  ware,”  so  called  because  it  was  reserved  for  imperial  use.  It 
resembled  the  Yiieh  but  was  clearer  and  brighter.  This  ware  was  made 
under  the  patronage  of  the  Ch'ien,  a family  that  rose  to  power  at  the 
time  of  the  decline  of  the  T'ang,  and  having  been  assigned  the  prin- 
cipalities of  Wu  and  Yiieh,  ruled  with  their  capital  at  Hang-chon  for 
three  generations,  from  851  to  976,  when  they  resigned  their  dominion 
to  the  Sungs. 

But  the  greatest  triumph  of  keramic  skill  previous  to  the  Sung  was 
the  famous  Ch'ai  yao,^  which  supplied  the  model  for  many  of  the  Sung 
productions.  It  was  first  made  during  the  reign  of  Shih  Tsung,  of  the 
later  Chou  (954-960),  at  Cheng-chou  in  Honan.  At  first  it  was  called 
the  “imperial  ware,”  but  afterward  came  to  be  known  as  Ch'ai,  from 
the  family  name  of  the  Emperor  who  ordered  its  manufacture.  It  is 
praised  in  the  most  extravagant  terms  by  the  old  writers,  and  is  said  to 

1 Since  writing  the  above,  H.  E.  T'ang  Shao-yi  has  told  me  of  a man  in  Foochow  who 
claims  to  have  a vase  of  Ch'ai  in  good  condition.  As  there  is  no  means  of  substantiating  this 
statement,  its  chief  interest  lies  in  the  extravagance  of  the  claim,  Chinese  connoisseurs  having 
long  considered  it  difficult,  if  not  impossible,  to  find  a piece  of  Ch'ai  large  enough  to  form  a 
watch  fob  or  a belt  buckle.  Mr.  T'ang  describes  the  piece  as  a melon-shaped  vase  about  ten 
inches  high,  of  a dark  green  colour  like  the  shell  of  a crab,  with  small,  regular,  even  crackle 
and  a very  thick  glaze.  This  does  not  tally  at  all  with  our  ideas  of  the  Ch'ai  as  derived  from 
literature,  and  Mr.  T'ang  does  not  credit  the  assertion,  though  he  considers  the  piece  of  great 
interest. 


171 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

have  been  ch"ing  like  the  sky,  clear  as  a mirror,  thin  as  paper,  and  reso- 
nant as  the  musical  stone,  glossy,  fine,  and  beautiful,  with  delicate 
markings  and  colouring,  far  surpassing  in  excellence  everything  that 
had  preceded  it.  In  this  description  we  must,  of  course,  make  due  al- 
lowance for  the  standard  of  comparison  of  the  ancient  writers.  If  it 
were  possible  now  to  discover  and  identify  a surviving  specimen,  we 
should  doubtless  find  it  disappointing.  But  at  the  same  time  we  are 
safe  in  assuming  that,  compared  with  its  contemporaries  and  with  all 
that  had  gone  before,  it  was  an  easy  leader.  The  praise  lavished  upon 
it  spurred  the  potters  of  the  Sung  to  their  supreme  efforts,  and  the 
colour  designated  for  it  by  Shih  Tsung,  “the  blue  of  the  sky  after  rain,” 
became  the  chief  aim  of  all  the  Honan  keramists. 


FAMOUS  KILNS  OF  THE  SUNG 


The  Ting. 

At  Ting-chou,  in  the  southern  part  of  Chihli.  In  operation  under 
the  Northern  Sung,  probably  from  the  beginning  of  the  dynasty.  In- 
dustry transferred  to  Nan-ch'ang  when  the  capital  was  moved  to  the 
south,  A.D.  1126-27. 

The  Ju. 

At  Ju-chou,  in  K'ai-feng  Fu.  Established  as  supplementary  to  the 
Ting. 

The  Kuan. 

In  the  capital  city  of  K'ai-feng  Fu.  Established  during  the  Ta  Kuan 
period  (1107).  Transferred  to  Hang-chou  when  the  court  moved  to 
the  south. 

The  Lung-ch'uan. 

The  Old  Lung-ch'iian. 

The  Ko. 

The  Chang  Lung-ch'iian. 

At  the  village  of  Liu-t'ien,  Lung-ch'iian  district,  Ch'u-chou  prefec- 
ture, province  of  Chehkiang.  The  Liu-t'ien  kilns  were  active  from 
the  beginning  of  the  Sung,  the  “Old  Lung-ch'iian”  being  their  oldest 
wares,  the  “Ko”  the  most  famous. 

The  Chun. 

At  Chiin-t'ai,  also  called  Chiin-chou,  now  Yii-chou,  province  of 
Honan.  In  operation  from  the  beginning  of  the  Sung. 

The  Chien. 

At  Chien-chou,  now  Chien-yang  district,  Chien-ning  prefecture,  prov- 
ince of  Fukien. 

1:93 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 


THE  TING 

I HAVE  found  no  native  work  which  fixes  the  date  of  the  opening  of  the 
Ting  kilns.  The  T'ao  Lu  tells  us  merely  that  they  were  in  operation 
“during  the  Sung  dynasty.”  We  know,  however,  that  even  as  far  back 
as  the  T'ang  (618-905)  south  Chihli  was  a keramic  centre,  and  that  the 
ware  there  produced  was  white,  or  of  a yellowish  tint  which  was  then 
the  nearest  approach  to  it.  It  is  said  of  the  Hsing  T'ai  ware  that  it  was 
of  fine  and  glossy  pate,  and  the  Gh'a  Ghing  compares  the  tea  bowls  to 
silver  or  to  snow,  holding  them  inferior,  however,  to  those  of  Yiieh  (in 
Chehkiang) , the  latter  being  green  and  compared  to  ice  and  jade.  Now 
Hsing  T'ai  is  the  head  district  of  Shun-te  Fu,  midway  between  Ting- 
chou  and  Tz'u-chou.  We  may  well  believe  that  its  kilns  supplied  the 
type,  and  that  it  was  their  development  which  later  produced  the  in- 
comparable Ting  and  the  fine  white  ware  of  Tz'u-chou. 

According  to  the  T'ang  Shih  Ssu  K'ao,  the  Ting  kilns  turned  out  their 
best  pieces  during  the  Cheng  Ho-Hsiian  Ho  period  (1111-26).  We 
are  told  that  the  production  of  the  Ting  type  of  ware  was  carried  on  at 
Ch'ang-nan  after  the  transfer  of  the  Sung  capital  to  the  south.  Through 
the  kindness  of  Mr.  D.  Lattimore,  of  Pao-ting  Fu  Provincial  College,  I 
obtained  a copy  of  the  Ting-chou  Annals,  expecting  them  to  be  a mine 
of  information  on  the  subject,  particularly  as  the  old  kilns  constitute 
the  city’s  only  claim  to  fame;  but  the  only  thing  that  rewarded  my 
search  was  the  bald  statement  that  “once  the  kilns  of  Ting-chou  were 
very  famous  and  their  products  eagerly  sought  after  by  connoisseurs.” 
Several  Ting-chou  students  at  the  college  were  questioned  on  the  sub- 
ject. They  had  all  heard  of  the  kilns,  but  did  not  know  just  where  they 
are  supposed  to  have  been  located.  One  of  the  teachers,  however, 
stated  that  the  Ting  pottery  was  very  famous  under  the  Sung  and  be- 
fore, and  that  tradition  has  it  that  this  pottery  was  made  at  a place 
called  Pai-Vu  Ts"un,  or  “Village  of  White  Clay,”  somewhere  to  the  west 
of  the  city.  He  added  that  no  pottery  is  made  there  now.  It  ought  not 
to  be  difficult  to  locate  this  place  definitely;  and  as  it  appears  never  to 
have  been  exploited,  it  is  possible  that  excavations  there  might  be 

no] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

richly  rewarded.  Even  broken  pieces  of  genuine  northern  Ting  are 
now  of  great  interest  and  value. 

The  pate  of  the  best  Ting  ware  was  very  fine  and  tender.  It  was  of 
light  grey  colour,  showing  none  of  the  purple-brown  or  iron  tints  of  the 
other  notable  Sung  wares,  either  before  or  after  firing.  It  was  manipu- 
lated with  great  delicacy,  and  some  of  the  pieces  were  almost  as  thin  as 
modern  egg-shell.  It  was  resonant,  and  while  usually  opaque  was  in 
certain  instances  slightly  translucent.  Brinkley  calls  it  “a  fine  stone- 
ware or  semi-porcelain”;  Dillon,  “proto-porcelain  or  kaolinic  stone- 
ware.” Native  authorities  do  not  raise  the  question.  They  call  it  tz'ii, 
but,  as  I shall  point  out  elsewhere,  this  term  is  not  necessarily  synony- 
mous with  our  word  “porcelain,”  no  matter  how  the  ideograph  may  be 
written.  The  exact  composition  of  the  Ting  pate  can  be  determined 
only  by  analysis  of  existing  specimens,  and  authenticated  specimens 
of  northern  Ting  are  far  too  rare  and  valuable  to  be  subjected  to  such  a 
process.  Our  best  hope  of  accurate  knowledge  on  this  subject  lies  in 
the  excavations  which  may  be  made  in  the  future  at  the  “Village  of 
White  Clay.” 

The  Ting  glazes  were  white,  purple,  and  black,  the  white  being  the 
type  and  by  far  the  most  important.  An  extract  from  the  poem  of  Su 
Tung-p'e,  to  the  effect  that  “the  flower  vases  of  Ting-chou  were  like 
carved  red  jade,”  is  made  authority  for  the  statement  that  the  Ting 
kilns  produced  a red  ware  also.  But  if  such  a ware  ever  existed,  it  is 
negligible  for  our  purpose,  as  the  collector  will  never  meet  with  it.  The 
Hsiang  Catalogue  (Illustrated  Description  of  the  Celebrated  Porcelain 
of  Different  Dynasties),  translated  by  Dr.  Bushell,  gives  twelve  Ting 
pieces,  of  which  five  are  purple.  From  this  it  would  appear  that  in 
Hsiang’s  day  (sixteenth  century)  purple  pieces  were  comparatively  nu- 
merous. They  do  not  seem  to  have  been  imitated,  however.  I have 
met  with  no  purple  specimens  of  the  Ting  type,  and  the  term  Ting  gao 
nowadays  always  implies  a white  ware.  As  for  the  black,  Hsiang  says 
it  was  very  rare,  and  this  was  undoubtedly  true  as  applied  to  the  finer 
work.  I am  inclined  to  think,  however,  that  some  recently  discovered 
specimens  of  black  ware  may  be  classed  as  fu  Ting  and  referred  to  the 
south  Chihli  kilns. 

fin 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

As  compared  with  other  notable  Sung  wares,  the  glaze  of  the  white 
Ting  was  thin,  “like  a thin  coat  of  cream,”  some  one  has  said,  and  this 
comparison  gives  a very  good  idea  of  its  appearance.  In  old  Chiins  and 
celadons  the  glaze  has  much  body  and  is  frequently  found  collected  in 
masses  near  the  bottom  of  the  piece.  While  the  glaze  of  the  white 
wares  is  like  cream,  that  of  the  coloured  monochromes  is  like  paste. 
This  contrast  may  be  easily  seen  by  comparing  the  piece  of  white  Sung 
shown  in  the  exhibit  with  the  pieces  of  Yuan  tz'u  and  Lung-ch'iian.  In 
these  latter  the  glazes  form  an  appreciable  part  of  the  thickness  of  the 
piece. 

The  T'ao  Lu,  in  speaking  of  Ting  wares  of  the  finest  quality,  says: 
“This  ware  was  commonly  called  fen  Ting  (rice-flour  Ting)  and  also 
pai  Ting  (white  Ting).”  It  appears,  however,  that  it  is  only  the  latter 
term  which  should  be  applied  to  the  fine  product  of  the  northern  kilns. 
The  term  fen  Ting  implies  a tinge  of  buff  in  the  glaze,  and  this  was  a 
characteristic  of  the  later  Kiangsi  product.  The  pai  Ting,  however, 
was  not  a pure  white  like  the  fo  fai  wares  of  the  Yung-lo  period.  It 
was  of  a mellow,  creamy  tone,  wonderfully  soft  and  of  great  beauty. 

Decoration  was  of  various  sorts.  It  was  sometimes  lightly  incised 
under  the  glaze,  sometimes  printed  or  pressed  on  with  a mould,  and 
sometimes  in  pronounced  relief.  Another  style  of  decoration  called 
hsiu  is  not  well  understood.  (See  note  to  translation.)  There  were 
also  perfectly  plain  pieces.  The  Ko  Ku  Yao  Lun  and  the  T'ang  Shih 
Ssu  K'ao  unite  in  pronouncing  the  pieces  having  incised  decoration  the 
finest,  and  in  giving  second  rank  to  the  plain  ones.  It  will  be  easily 
understood  that  those  having  sufficient  body  to  carry  decoration  in 
pronounced  relief  could  not  compare  with  the  others  in  delicacy, 
though  the  decoration  itself  was  very  often  intricate  and  effective  and 
the  technique  excellent.  In  the  Catalogue  of  the  Major  Collection  is 
found  the  statement  that  the  Ting  wares  sometimes  carried  decoration 
in  brown,  as  did  the  products  of  the  kilns  of  Tz'u-chou.  This  does  not 
seem  at  all  unlikely,  as  the  kilns  of  the  two  districts  operated  at  the 
same  time  and  turned  out  products  similar  in  many  respects,  but  I have 
not  been  able  to  confirm  the  statement  by  any  native  authority.  If  con- 
vinced that  decoration  in  colour  was  ever  employed,  I should  be  in- 

[12] 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

dined  to  apply  to  it  the  word  hsiu  above  mentioned.  Chinese  sdiolars 
whom  I have  consulted  are  of  the  opinion  that  it  means  “painted.” 

The  books  tell  us  that  the  patterns  most  commonly  used  in  decorating 
the  Ting  were  peonies,  day  lilies,  and  flying  phoenixes.  (For  the  sym- 
bolism of  these,  see  note  to  the  translation  of  the  T'ao  Lu.)  But  these 
by  no  means  monopolise  the  field.  Like  most  of  the  famous  Sung 
wares,  the  early  Ting  v/as  modelled  on  old  bronzes,  and  all  the  archaic 
designs  found  on  such  bronzes  were  faithfully  reproduced.  (For  an 
example  of  this,  see  the  magnificent  purple  censer  shown  in  the  Hsiang 
Catalogue.)  The  key-pattern  and  scroll-work  of  various  sorts  were 
widely  used,  particularly  in  incised  decoration.  I have  seen  two  pieces 
showing  a pair  of  fishes  in  the  bottom,  a style  mentioned  in  literature 
as  characteristic  of  the  Old  Lung-ch'iian  wares.  One  of  these  pieces 
was  held  by  the  dealer  to  be  a Vu  Ting,  possibly  dating  from  the  Sung, 
while  the  other  was  admittedly  a Tao  Kuang  imitation  made  at  the 
Kiangsi  kilns.  This  is  a very  old  pattern,  and  was  undoubtedly  much 
used  on  the  Ting  wares  as  well  as  on  the  Lung-ch'iian. 

Several  native  works,  in  discussing  the  pai  Ting,  mention  the  occur- 
rence of  globules  in  the  glaze,  which  they  compare  to  tear-marks  and 
which  are  spoken  of  as  increasing  the  value  of  the  piece  in  the  eyes  of 
connoisseurs.  We  can  hardly  believe  that  they  were  real  embellish- 
ments or  that  they  were  intentional  on  the  part  of  the  potter.  But, 
being  a defect  characteristic  of  early  wares,  they  have  come  to  be 
prized  as  an  evidence  of  age.  Brinkley  believes,  too,  that  they  would  be 
most  likely  to  occur  on  pieces  of  greatest  delicacy. 

Bowls  and  plates  of  Ting  were  stoved  in  an  inverted  position,  so  that, 
unlike  most  Sung  wares,  the  bottoms  were  perfectly  glazed,  while  the 
rims  were  left  exposed  and  afterward  finished  with  bands  of  copper 
or  silver.  This  is  believed  to  constitute  an  important  mark  of  authen- 
ticity, as  it  is  held  that  the  Ching-te-chen  kilns  did  not  imitate  it.  It 
should  be  borne  in  mind,  however,  that  there  was  no  impossibility  in 
their  doing  so,  had  they  reallj^  wished  to  deceive,  and  for  this  reason 
the  glazed  bottom  and  copper  rim  must  not  be  considered  absolute 
proof  of  the  Sung  origin  of  a piece.  Let  it  be  said,  however,  in  justice 
to  the  Ching-te-chen  potters  of  the  Ming,  that  for  the  most  part  their 

1:133 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

aim  was  not  deception  or  slavish  imitation,  but  the  development  and  im- 
provement of  the  type  set  for  them  by  the  northern  kilns.  Their  work 
was  of  a quality  which  had  no  reason  to  fear  comparison,  and  perhaps 
they  did  not  use  the  copper  rims  simply  because  they  had  learned  to 
finish  the  piece  properly  without  them.^ 

The  Ting  kilns  put  forth  a great  variety  of  articles.  Plates  and 
saucers  of  various  sizes  and  wide-mouthed  bowls  were  common.  There 
were  many  censers,  tripods,  and  vases,  closely  imitating  the  old 
bronzes.  In  addition  the  T'ao  Shuo  gives  us  a list  of  flower  vases  and 
small  objects  for  use  in  the  library  of  the  scholar,  such  as  pencil  rests, 
water  basins  for  washing  brushes,  and  small  pots  to  contain  water  for 
the  ink  slab,  designed  in  imitation  of  various  natural  objects,  such  as 
melons,  egg-plant,  camels,  and  even  toads.  These  all  occurred  in  the 
Ting  wares,  though  they  seem  to  have  been  more  common  in  the 
heavier  Kuan  and  Ko. 


VARIETIES  AND  IMITATIONS  OF  THE  TYPE 

The  Vli  Ting  is  a variety  of  the  ware  heavier,  coarser,  and  more  yel- 
lowish in  colour  than  the  pai  Ting  or  fen  Ting.  From  the  text  of  the 
T'ao  Lu  one  gathers  that  it  was  simply  an  inferior  output  made  at  the 
same  kilns  and  at  the  same  time  as  the  other.  And  it  seems  but  natural 
that  from  the  very  first  pieces  of  varying  degrees  of  fmeiyess  and  ex- 
cellence should  have  been  produced,  adapted  to  various  uses  and  put 
upon  the  market  at  different  prices.  Or  perhaps,  while  the  finer  wares 
were  reserved  for  imperial  use,  the  heavier  work  alone  was  put  upon 
the  market.  The  T'ao  Shuo  and  the  older  works  from  which  it  quotes 
do  not  mention  the  fu  Ting.  Brinkley,  in  Chapter  III,  “Wares  of  the 
Sung  Dynasty,”  says:  “There  was  also  produced  at  the  same  factory, 
during  the  Sung  dynasty,  a coarser  species  called  the  Vu  Ting  yao.” 
But  in  Chapter  XII,  “Chinese  Pottery,”  he  says  that  the  fu  Ting  was  “an 
imitation  of  the  celebrated  Ting  ware  of  the  Sung,”  and  he  adds  that  the 
heavier  examples  came  from  the  Kuangtung  factories.  In  describing 

1 Mr.  T'ang  Shao-yi  has  since  told  me  that  under  the  Ming  and  later  the  copper  rims  were 
considered  in  bad  taste. 

c:i4:] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

these  he  says  that  they  have  “a  paint-like,  creamy  glaze  of  varying 
thickness  and  lustre,  its  buff  colour  often  showing  tinges  of  blue.”  I 
have  seen  numerous  specimens  in  shops  and  private  collections,  some 
of  them  quite  creamy  enough  to  have  issued  from  the  northern  kilns, 
and  others  somewhat  buff  but  showing  no  special  tinge  of  blue.  More- 
over, they  are  sufficiently  heavy  and  durable  to  have  survived  usage 
and  transfer  and  to  have  undergone  processes  of  burial  and  resurrec- 
tion. One  would  like  to  believe  that  some  of  them,  at  least,  are  what 
they  seem.  It  is  an  interesting  point,  for  if  they  are  genuine  relics  of 
the  Sung  kilns  their  analysis  would  teach  much  concerning  the  nature 
of  the  Ting  pate  and  glazes,  for  these  heavy  wares  probably  differed 
from  the  others  more  in  technique  and  manipulation  than  in  the  nature 
of  the  materials  used. 

We  have  seen  that  with  the  transfer  of  the  Sung  capital  to  the  south 
(1126-27)  the  manufacture  of  the  Ting  type  of  ware  became  centred  at 
Ch'ang-nan,  the  world-famed  Ching-te-chen,  where  kilns  had  already 
been  in  operation  from  the  seventh  century.  Doubtless  the  more 
skilled  of  the  operators  of  the  northern  kilns  went  to  Ching-te-chen  at 
this  time,  taking  their  skill  and  their  traditions  with  them.  We  need 
look  for  no  falling  off  in  technique,  but  naturally  different  materials 
came  into  use.  If,  however,  the  peculiar  keramic  properties  of  the 
Ching-te-chen  kao-lin  had  then  been  discovered,  the  discovery  was  not 
applied  to  this  species  of  manufacture.  The  T'ao  Lu  tells  us  that  the 
Ch'ang-nan  potters  used  powdered  chHng-fien  stone  in  making  their 
biscuit.  Whatever  this  may  have  been,  it  did  not  produce  so  fine,  close- 
grained  a pate  as  the  material  procured  from  the  “Village  of  White 
Clay.”  Just  what  occurred  to  produce  the  change  in  the  colour  of  the 
glaze  from  a creamy  white  to  a buff  tinge  is  another  point  unelucidated, 
but  from  this  time  onward  the  manufacture  of  Ting  wares  went  on  at 
Cffiang-nan  without  interruption. 

Changes  of  dynasty  did  not  put  out  the  fires  of  the  Ching-te-chen 
kilns.  Under  the  Mongol  masters  of  the  Yuan  (1206-1341)  they  went 
on  producing  pieces  which  old-time  native  connoisseurs  admit  to  be 
undistinguishable  from  the  southern  ware  of  the  Sung.  The  Ko  Ku 
Yao  Lun  tells  us,  however,  that  under  the  Yiian  the  best  pieces  were 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

marked  with  the  characters  “Shu  Fu,”  indicating  their  imperial  des- 
tination. Under  the  Ming  white  wares  of  hard  paste  porcelain  were 
made,  but  the  manufacture  of  the  soft  paste  Ting  type  was  also  kept  up. 
Under  Wan  Li  (1573-1620)  the  expert  Hao  Shih-chiu  is  said  to  have 
copied  a Sung  Ting  tripod  so  successfully  that  the  owner  of  the  original 
could  not  tell  which  was  his.  As  already  mentioned,  we  have  seen  a 
handsome  piece  of  the  Ting  type  which  was  admitted  by  the  dealer  to 
be  as  late  as  Tao  Kuang. 

So  much  for  the  Ghing-te-chen  kilns.  And,  as  will  be  seen  in  the  sec- 
tion devoted  to  supplementary  kilns,  the  Ting  wares  were  imitated  with 
more  or  less  success  by  the  potter  Shu  of  Chi-chou  and  his  daughter 
Shu  Chiao,  by  the  potter  P'eng  Chiin-pao  of  Ho-cho-chou,  and  by  many 
others.  All  these  varieties  add  to  the  confusion  of  the  collector.  True, 
the  genuine  northern  Ting  had  characteristics  which  set  it  apart  from 
all  the  others,  but  it  is  hardly  an  exaggeration  to  say  that  its  safest 
distinguishing  feature  is  the  fact  that  it  is  no  longer  to  be  found. 

EXAMPLES  OF  THE  TING  WARES 

Bushell’s  “Chinese  Art,”  Fig.  8,  shows  two  Ting  vases  classed  as  Sung. 
These  are  in  the  Bushell  collection. 

At  the  Shanghai  Exhibition,  1908,  was  shown  a piece  in  the  form  of 
a boat  with  a child  in  it.  It  has  an  incised  key-pattern  border.  Length, 
7 inches;  height,  2 inches.  It  was  from  the  collection  of  Wang  K'ai-zur 
and  was  classed  as  Sung  fen  Ting. 

At  the  same  exhibition  were  shown  a pair  of  vases  classed  as  fen  T ing. 
These  have  a creamy,  crackled  glaze,  with  dragon  and  flying  phoenix 
decoration.  From  the  collection  of  A.  W.  Bahr.  Probably  early  Ming. 

At  the  Burlington  Fine  Arts  Exhibition  was  shown  a saucer-shaped 
dish  with  six-foil  rim  finished  with  a band.  The  ornaments  are  in  low 
relief.  There  is  a vine  in  the  centre,  and  the  six  radiating  compart- 
ments of  the  sides  are  decorated  with  peonies  and  other  flowers.  The 
border  is  of  the  design  known  as  the  silk- worm  scroll.  This  piece  was 
loaned  by  Mrs.  Bushell. 

The  same  exhibition  showed  a bottle  of  Vii  Ting  with  creamy-white 

i:i6j 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

crackled  glaze,  “garlic-shaped”  mouth,  and  archaic  dragon  and  pearl  in 
relief  around  the  lower  part  of  the  neck.  Decoration  of  scroll-work  on 
the  body. 

Three  vases  of  the  Vu  Ting  type  recently  left  Peking.  The  purchaser 
classed  them  as  Sung.  Their  solidity  and  crackled  glaze  place  them  in 
the  fii  Ting  class,  but  they  are  finely  finished  and  of  excellent  tech- 
nique. The  best  of  the  three  has  a creamy  glaze  with  only  a slight  tinge 
of  buff,  and  decoration  in  low  relief,  evidently  copied  from  an  old 
bronze.  A key-pattern  scroll  extends  twice  round  the  neck  and  down 
the  sides.  The  crackle  is  of  the  fine  fish-roe  type.  It  may  be  a Ming 
product  of  the  Ching-te-chen  kilns,  but  on  this  point  it  is  impossible  to 
speak  with  certainty.  Analysis  of  the  glaze  would  probably  show  lead. 
The  very  excellence  of  such  a specimen  leads  one  to  doubt  its  age. 

In  the  collection  of  General  Munthe  are  three  vases  of  the  fu  Ting 
type.  Two  of  these  have  the  “garlic-shaped”  mouth  and  dragons  coiled 
about  the  neck.  A third  has  a deeper  tinge  of  buff  than  the  others,  with 
decoration  of  peonies  incised  under  the  glaze.  This  latter  has  a com- 
pletely glazed  bottom.  These  are  all  of  heavier  material  and  coarser 
workmanship  than  the  three  mentioned  above. 

At  the  Ta  Chi  Chang  curio  shop  on  the  Ha-ta-men  Street  I saw  a speci- 
men of  the  finer  Ting.  It  is  a wide-mouthed  bowl,  very  light  and  deli- 
cate but  quite  opaque.  It  has  the  hexagonal  division  of  the  sides,  like 
the  bowl  mentioned  above  from  the  collection  of  Mrs.  Bushell.  The 
only  decoration  is  an  incised  lotus  at  the  bottom.  The  rim  is  unglazed 
and  finished  with  a copper  band.  The  dealer  seemed  ignorant  of  the 
origin  and  character  of  this  piece. 

The  same  dealer  showed  me  a large  plate  of  the  fu  Ting  type.  It  has 
a deeper  tinge  of  yellow  and  is  heavier  than  the  bowl,  but  is  still  quite 
delicate.  It  also  is  finished  with  the  copper  rim.  There  are  two  fishes 
in  the  bottom  and  elaborate  decoration  in  relief  round  the  sides.  Like 
the  bowl  just  described,  it  has  all  the  characteristics  of  genuine  Sung 
ware,  unless  it  lacks  such  as  must  be  determined  by  analysis.  But  it 
requires  great  optimism  to  believe  that  pieces  so  fragile  and  of  a shape 
so  easily  destroyed  have  survived  from  so  remote  a period. 

Heavy  pieces  of  the  fu  Ting  type,  mostly  vases,  may  be  found  in 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

various  shops  on  the  Liu-li-ch'ang.  If  asked  their  origin,  the  dealer 
will  usually  say  “Honan”  and  add  that  they  are  “out  of  the  earth.”  It  is 
quite  true  that  recent  railway  construction  has  led  to  numerous  finds 
of  ancient  pottery;  and  as  these  pieces  are  very  solid,  it  is  not  unreason- 
able to  suppose  that  some  of  them,  at  least,  actually  date  from  the  Sung 
dynasty. 

HINTS  TO  THE  COLLECTOR 

“The  best  Ting  was  of  the  Cheng  Ho-Hsiian  Ho  periods,  but  it  is  no 
longer  found  in  heaps”  (Ko  Ku  Yao  Lun,  1387.) 

“One  does  not  see  many  Sung  wares  nowadays.  The  broken  shards 
that  remain  are  worth  their  weight  in  gold  and  jade.”  (Foreword  of 
the  T'ao  Shuo,  Ch'ien  Lung  period.) 

The  above  two  quotations,  one  written  about  one  hundred  and  fifty 
and  the  other  more  than  five  hundred  years  ago,  might  seem  to  close 
the  question  to  all  but  purely  academic  interest.  Nevertheless,  there 
are  certain  recent  developments  which  may  serve  to  justify  the  collec- 
tor of  Sung  wares  in  his  enthusiasm,  particularly  with  regard  to  the 
heavier  varieties.  These  are  the  excavations  which  have  accompanied 
modern  mine-opening  and  railway-building  in  China,  and  the  wars  and 
political  upheavals  which  have  caused  princely  and  other  wealthy  fam- 
ilies to  put  their  hitherto  jealously  guarded  heirlooms  upon  the  market. 
It  is  asserted,  too,  that  during  and  since  Boxer  times  some  of  the  im- 
perial hoards  have  been  rifled  by  their  guardians  and  put  into  circu- 
lation. 


THE  JU 

Ju-CHOu  is  in  the  province  of  Honan,  in  the  valley  of  the  Ju  River,  some 
fifty  miles  west  of  the  Ching-Han  Railway  line  and  to  the  southeast  of 
Honan  Fu.  It  is  in  the  same  general  keramic  district  as  Yii-chou,  where 
the  famous  Sung  Chiin  wares  were  made.  The  T'ao  Lu  tells  us  that  it 
was  under  the  direct  jurisdiction  of  the  capital,  Pien-liang.  (Bushell 
errs  in  saying  that  it  is  now  Ju-chou  Fu.  It  is  not  a prefectural  city.) 
Brinkley  makes  the  statement  that  the  Ju  kilns  were  opened  in  1130, 

D8J 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

which  was  three  years  after  the  transfer  of  the  Sung  capital  to  the 
south,  but  they  are  actually  mentioned  in  a work  written  some  years 
before.  He  appears  to  be  quoting  the  T'ao  Lu,  though  not  literally,  as 
follows:  “The  T'ao  Lu  says  that  the  glaze  of  the  Ting  yao  was  often  dis- 
figured by  fissures  and  other  faults  due  to  imperfectly  prepared  ma- 
terials or  unskilled  stoving.  These  blemishes  proved  so  embarrassing 
and  unavoidable  that  in  1130  a.d.  imperial  orders  were  issued  for  the 
establishment  of  a special  factory  at  Ju-chou,  in  the  province  of 
Kiangsu.” 

The  only  statement  that  I have  been  able  to  find  in  the  T'ao  Lu  in 
any  way  resembling  this  is  the  following:  “Ju  was  under  the  jurisdic- 
tion of  Pien.  The  Sung  (emperors),  holding  that  the  white  Ting  ware 
was  in  many  ways  unsuitable,  ordered  the  opening  of  kilns  at  Ju  for  the 
manufacture  of  celadon  (c/z'mp).”  This  text  does  not  mention  the 
date,  and  unless  there  be  direct  literary  evidence  to  the  contrary,  I 
should  place  the  opening  of  the  kilns  at  a date  somewhat  earlier  than 
that  assigned  by  Rrinkley.  The  Sung  emperors  transferred  their  capital 
to  the  south  in  1126-27,  and  we  have  already  seen  that  at  that  time  the 
manufacture  of  the  Ting  type  of  ware  was  removed  to  Ching-te-chen. 
We  shall  also  see  that  the  Kuan,  or  imperial  kilns,  were  then  trans- 
ferred from  the  old  capital  to  the  new.  At  a time  when  circumstances 
necessitated  the  closing  of  the  other  northern  kilns  it  is  not  likely  that 
new  ones  would  have  been  opened  in  Honan,  in  close  proximity  to  the 
Chin  Tartars,  before  whom  the  Sung  were  receding;  for,  as  we  know, 
Ju-chou  is  in  Honan,  not,  as  Brinkley  states,  in  Kiangsu. 

The  Ju-chou  kilns  are  in  operation  to-day,  and  I find  no  evidence  to 
show  that  they  have  ever  been  entirely  closed.  Richard’s  geography 
says:  “The  environs  were  formerly  very  industrial,  but  have  lost  their 
activity.  The  manufacture  of  common  pottery  is  still  carried  on  and 
gives  the  place  some  importance.”  Nevertheless,  fine  old  Ju  wares  of 
the  Sung  are  exceedingly  rare.  As  they  were  not  so  fragile,  the  only 
explanation  seems  to  be  that  the  output,  while  under  imperial  patron- 
age, was  small.  If  such  patronage  were  withdrawn  with  the  transfer  of 
the  capital  to  the  south,  an  immediate  deterioration  of  the  work  would 
have  resulted.  In  the  absence  of  evidence  I cannot  contend  that  such 

D93 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

was  the  history  of  the  Ju-chou  kilns,  but  offer  it  merely  as  a working 
hypothesis.  There  may  be  evidence  in  Chinese  literature  which  has  not 
come  under  my  notice.^ 

We  are  told  that  the  pate  of  the  Ju  was  fine  and  glossy  and  shone  like 
copper.  This  seems  to  indicate  a reddish  tinge  in  the  clay  even  before 
firing.  The  wares  varied  in  thickness.  If  any  specimens  ever  equalled 
the  Ting  in  delicacy,  they  have  not  survived. 

The  superiority  of  the  Ju  wares  was  entirely  in  the  glaze,  which  was 
glossy  and  thick  like  congealed  lard.  To  reproduce  a colour  like  that 
of  the  famous  old  Ch'ai  wares  of  the  later  Chou  seems  to  have  been  the 
main  object  in  the  opening  of  the  kilns.  The  T'ao  Lu  states  that  the 
colour  was  to  be  ch'ing,  but  it  specifies  “the  cKing  of  the  sky  after 
rain.”  This  expression  naturally  suggests  blue,  and  observation  bears 
out  the  rendering.  I have  heard  it  applied  by  dealers  to  pieces  which, 
to  my  eyes  at  least,  were  frankly  blue  with  no  tinge  of  green.  It  is  the 
colour  of  the  modern  Ju-chou  ware  to  be  found  in  abundance  in  Peking 
to-day.  When  a Chinese  says  of  an  object  that  it  is  "cKing  like  the 
sky,”  he  does  not  mean  the  same  thing  as  when  he  says  “chHng  like  an 
onion.”  I asked  a Chinese  gentleman  the  colour  of  the  pale  blue  silk 
gown  that  he  wore,  and  he  responded  promptly  “pale  ch'ing” 

So  much  for  the  term.  But  we  must  not  be  surprised  when  con- 
fronted by  the  fact  that  the  colour  of  the  Ju  wares  was  not  always  the 
same.  The  skill  of  the  old  potters  was  purely  empirical.  They  could 
rarely  duplicate  their  wares.  The  colour  of  the  sky  after  rain  may 
have  been  always  the  colour  aimed  at,  but  many  attempts  produced  a 
bluish  green,  or  sometimes  a green  with  no  tinge  of  blue.  Of  the  three 
Ju  pieces  which  are  figured  in  the  Hsiang  Catalogue  (if  the  colours  of 
the  reproduction  which  I have  seen  are  to  be  trusted),  one  is  quite  blue, 
one  a celadon  with  a slight  tinge  of  blue,  and  one  with  blue  predominat- 
ing but  bearing  a tinge  of  green.  Before  leaving  this  puzzling  question 

1 Dr.  Chao  S.  Bok,  himself  a lineal  descendant  of  the  Sung  imperial  family  and  deeply  in- 
terested in  their  history,  informs  me  that  the  kilns  at  Ju-chou  were  not  established  by  im- 
perial order,  but  as  the  private  enterprise  of  a prince  of  the  ruling  house.  He  has  promised 
to  secure  for  me  the  name  of  this  prince  and  the  exact  date  of  the  establishment  of  the  kilns. 
He  believes  that  they  did  not  operate  for  a very  long  time,  but  that  during  their  operation  a 
very  ardent  competition  existed  between  them  and  the  Ting-chou  factories,  particularly  with 
regard  to  the  production  of  new  colours  in  the  glaze. 

1:20] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

of  colour,  we  should  mention  that  the  T'ao  Shuo  quotes  the  Liu  Ch'ing 
Jih  Cha  as  saying  that  there  was  a yellowish  tinge  in  the  Ju  glazes,  and 
the  Po  Wu  Yao  Lan  as  comparing  them  in  colour  to  egg-white.  The 
author  of  the  T'ao  Shuo,  commenting  on  this,  remarks  that  while  the 
two  statements  seem  to  disagree,  the  general  indication  is  that  the 
colour  was  a pale  ctiing.  Evidently  this  latter  overworked  word  ap- 
peals to  the  Chinese  mind  as  a safe  resort  in  all  disputes  with  regard  to 
colour. 

The  T'ao  Lu  says  that  the  Ju  was  sometimes  uncrackled,  sometimes 
with  the  fish-roe  variety  of  crackle.  The  Ko  Ku  Yao  Lun  also  refers  to 
certain  markings  designated  as  “crab’s  claw”  and  “Tsung  gen”  or  “coir- 
palm  eyes.”  The  first  may  refer  to  the  larger  variety  of  crackle,  such 
as  is  shown  by  one  of  the  Ju  pieces  in  the  Hsiang  Catalogue.  The  latter 
term  I have  discussed  in  the  note  to  the  annexed  translation.  Native 
authorities  do  not  agree  as  to  its  meaning.  One  man  assured  me  that  it 
is  common  colloquial  usage,  meaning  “little  holes.”  Another  says  that 
it  is  applied  to  certain  markings  on  plants,  not  necessarily  the  palm.  He 
pointed  out  such  marks  on  a bamboo.  They  are  not  unlike  eyes,  and 
one  can  understand  how  such  markings  might  accidentally  occur  on 
porcelain.  I have  seen  no  specimens,  however,  and  have  not  heard  the 
term  used  by  dealers  or  connoisseurs.  Whatever  these  markings  were, 
it  is  obvious  that  they  were  not  intentionally  produced  and  were  not 
originally  regarded  as  embellishments. 

A quotation  from  the  Cho  Keng  Lu  refers  to  sesame  flowers  on  the 
bottom  of  Ju  wares,  which,  if  I understand  the  passage  aright,  appeared 
as  though  picked  out  with  a small  pointed  instrument.  No  reference  is 
made  to  this  elsewhere. 

Of  the  composition  of  the  Ju  glazes  the  books  tell  us  only  that  pow- 
dered cornelian  was  added.  I am  not  aware  that  this  statement  was 
made  with  reference  to  any  other  of  the  Sung  wares. 

The  archaic  decorations  of  the  old  bronzes  were  reproduced  on  the 
Ju  wares.  So  far  as  I have  been  able  to  discover,  the  Ju  is  known  only 
in  vases.  If  bowls,  plates,  and  the  utensils  of  the  library  were  made,  as 
in  the  other  Sung  wares,  they  have  not  survived  even  in  literature.  The 
author  of  the  T'ao  Shuo  speaks  of  “one  small  jar”  which  he  was  for- 

1:21] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

tunate  enough  to  see  in  the  collection  of  a friend.  It  appears  to  have 
been  the  characteristic  of  cornelian  in  the  glaze  which  most  struck  him, 
for  he  makes  this  the  heading  of  his  remarks.  He  says  that  such  pieces 
were  meant  for  imperial  use  and  were  “exceedingly  hard  to  obtain.” 

IMITATIONS 

The  Annals  of  Fu-liang  tell  us  that  the  pate  and  glaze  of  the  Ju  wares 
were  imitated  at  Ching-te-chen.  These  products  probably  excelled 
their  originals  in  technique,  but  fell  below  them  in  depth  and  softness 
of  glaze. 

Modern  wares  from  the  Ju-chou  kilns  are  for  sale  in  Peking.  At  the 
Industrial  Exposition  Building  I saw,  among  other  articles,  a large  Ju 
censer.  The  colour  is  “the  blue  of  the  sky  after  rain.”  These  pieces  are 
not  meant  to  deceive,  and  could  not  possibly  do  so.  Still,  they  are  not 
without  decorative  merit,  and  are  of  interest  as  marking  the  persistence 
of  an  old  industry  which  may  yet  have  a future. 

EXAMPLES  OF  SUNG  JU 

Since  the  Hsiang  Catalogue  could  figure  only  three  pieces,  and  the 
author  of  the  T'ao  Shuo  knew  only  one  small  jar,  we  must  not  expect 
much  in  the  way  of  existing  specimens. 

HINTS  TO  THE  COLLECTOR 

From  what  has  already  been  said  it  will  be  understood  that  the  interest 
of  the  collector  in  this  type  of  ware  is  largely  theoretical.  It  is  possible 
that  a craze  for  Sung  Ju  may  some  day  create  a supply;  but  if  so,  no 
thinking  person  could  take  the  matter  seriously.  A description  of  this 
ware  has  been  necessary  here,  merely  for  the  sake  of  symmetry  and 
completeness  in  summarising  the  famous  products  of  the  dynasty. 

Nevertheless,  it  is  likely  that  a few  specimens  do  exist  in  private  col- 
lections, and  that  they  may  yet  fall  under  the  eye  of  the  collector.  Such 
specimens  may  have  found  their  way  to  America  already,  for  undoubt- 

1:223 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

edly  the  recent  upheavals  in  China  have  caused  the  dispersal  of  collec- 
tions of  great  merit. 

Let  the  collector  remember  that,  to  be  considered  at  all  as  a Sung  Ju, 
the  piece  must  be  of  fine,  glossy,  copper-coloured  pate,  the  glaze  must 
be  thick  and  unctuous,  the  colour  blue,  green,  or  a blending  of  the  two 
with  either  predominating.  It  may  be  crackled  or  plain.  The  style 
should  be  archaic.  The  glaze  is  likely  to  terminate  in  a wavy  line,  and 
a portion  of  the  lower  part  is  very  likely  to  be  unglazed.  Too  great  ex- 
cellence of  technique  will  indicate  a Ching-te-chen  origin  of  later  date 
than  the  Sung.  But  when  all  these  characteristics  are  granted,  I can 
find  nothing  which  absolutely  distinguishes  it  from  other  celadons, 
particularly  the  Kuan.  If  the  presence  of  cornelian  in  the  glaze  could 
be  proved,  this  would  appear  to  clinch  the  argument.  But  probably  the 
use  of  this  material  is  only  a tradition.^ 


THE  KUAN 

The  Kuan  Yao  were  the  Government  kilns,  properly  speaking.  They 
differed  from  the  others  in  being  set  up  at  the  capital  and  being  more 
directly  under  the  jurisdiction  of  the  palace  authorities.  But  we  must 
not  suppose  that  they  were  the  only  kilns  which  supplied  ware  for  im- 
perial use,  or  that  their  output  was  necessarily  superior  to  that  of  other 
famous  kilns,  such  as  the  Ting  and  Ju.  In  fact,  the  T'ao  Lu  tells  us 
that  such  was  not  the  case.  I have  noted  in  my  researches  that  the  term 
Sung  Kuan  yao  as  used  to-day  does  not  necessarily  mean  the  product 
of  these,  strictly  speaking,  imperial  kilns,  but  is  used  to  indicate  all 
Sung  wares  whose  quality  indicates  that  they  were  meant  for  palace 
use. 

The  books  are  quite  definite  as  to  the  history  of  the  Kuan  kilns.  They 
were  opened  during  the  Ta  Kuan-Cheng  .Ho  period.  These  are  both 

1 Since  writing  the  above  I have  been  informed  by  H.  E.  T'ang  Shao-yi  that  there  is  in  his 
own  collection  a piece  which  he  is  strongly  inclined  to  classify  as  Ju. 

The  collection  of  Mr.  Ch'ing  K'uan  also  contains  a vase  which  he  calls  a Ju.  It  is  beaker- 
shaped and  of  archaic  appearance.  The  colour  is  a grey  green  and  there  is  medium-sized 
crackle. 

1:233 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

designations  of  the  reign  of  the  Emperor  Hui  Tsung,  and  the  time 
was  1107-18.  During  the  latter  year  Hui  Tsung,  though  still  on  the 
throne,  again  changed  his  nien  hao.  The  kilns  continued  to  operate  at 
K'ai-feng  Fu  until  the  transfer  of  the  capital  to  the  south,  when  they 
were  closed  and  “interior  kilns,”  or  official  kilns,  were  set  up  in  the  im- 
mediate precincts  of  the  palace  at  Hang-chou.  We  have  thus  a period 
of  only  twenty  years  for  the  operation  of  the  northern  kilns. 

As  for  the  pate  of  the  Kuan,  we  are  told  that  it  was  fine  and  glossy 
and  that  the  wares  showed  the  red  mouth  and  iron  foot,  though 
whether  this  was  before  or  after  firing  is  not  quite  clear.  There  must 
have  been  considerable  difference  between  the  clays  used  in  the  north 
and  in  the  south,  and  with  regard  to  the  latter  the  T'ao  Shuo  is  more 
explicit.  Quoting  the  Po  Wu  Yao  Lan,  it  says:  “The  earth  at  the  foot  of 
Phoenix  Hill,  near  Hang-chou,  is  reddish,  so  that  the  bottom  of  vessels 
made  of  it  look  like  iron.  This  is  commonly  called  ‘the  red  mouth  and 
iron  foot.’  For  the  glaze  has  a tendency  to  run  down,  away  from  the 
mouth  of  the  vessel,  leaving  this  or  unglazed  patches  like  the  bottom  in 
colour.  But  it  is  the  iron  foot  which  is  most  esteemed.  There  is  no 
other  clay  which  equals  that  of  Phoenix  Hill  in  this  respect.” 

From  this  it  would  appear  that  in  the  southern  wares  the  pate  was 
red  before  firing.  I am  inclined  to  think  that  the  pate  of  the  northern 
Kuan,  and  of  Honan  wares  generally,  was  dark,  though  not  so  mark- 
edly red  as  that  of  Hang-chou. 

With  regard  to  the  thickness  of  the  biscuit,  there  does  not  appear  to 
have  been  much  difference  between  the  Ju  and  the  Kuan.  Of  the  for- 
mer we  are  told  that  the  wares  were  “of  varjdng  thickness”;  of  the 
latter,  that  “the  body  was  thin.”  The  Liu  Ch'ing  Jih  Cha  says  of  the 
Kuan  that  “those  which  were  thin  like  paper  were  similar  to  the  Ju  and 
of  equal  value.”  In  estimating  remarks  like  this  we  must  always  bear 
in  mind  the  standards  of  comparison  of  those  early  times,  else  we  shall 
form  a very  exaggerated  idea  of  the  delicacy  of  the  old  wares. 

The  Ju  appears  to  have  excelled  the  Kuan  in  quality  of  glaze.  We 
have  seen  the  former  characterised  as  very  thick  and  unctuous  and 
compared  to  lard.  The  latter  is  not  described  except  as  regards  colour. 
This,  the  T'ao  Lu  says,  was  a ch'ing  of  varying  depth.  During  the  Ta 

i:24] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

Kuan  period  moon-white  and  bright  green  were  also  made.  Generally 
speaking,  this  celadon  appears  to  have  shown  less  of  the  blue  tinge  than 
did  the  Ju.  As  to  crackle,  the  T'ao  Lu  says  that  it  showed  the  crab’s- 
claw  markings.  The  Po  Wu  Yao  Lan  adds  to  this  that  the  starred-ice, 
eel’s-blood  crackle  was  the  best,  and  the  black  plum-blossom  crackle 
next  in  rank.  This  refers  to  the  practice  of  rubbing  red  or  black  colour- 
ing matter  into  the  crackle.  This  process  is  described  in  the  section  on 
Minor  Kilns,  under  the  heading  “Sui  Ch'i  Yao.” 

Decoration  appears  to  have  been  sparingly  used  on  the  Kuan  wares, 
the  pieces  relying  for  their  beauty  on  the  quality  of  the  glaze  and  the 
coloured  crackle.  The  Hsiang  Catalogue  figures  a tripod  having  the 
“t'ao-f ieh,”  or  ogre’s  head,  in  relief,  and  the  “lei-wen,”  or  thunder- 
scroll  decoration.  Other  pieces  are  perfectly  plain.  We  do  not  read  or 
hear  of  plates  or  bowls  with  incised  patterns  of  flowers,  etc.,  as  in  the 
Lung-ch'iian  celadons. 

The  Hsiang  Catalogue  shows  us  censers,  tripods,  libation  cups,  etc., 
in  the  Kuan  wares.  We  also  learn  from  the  Catalogue,  and  from  the 
list  of  articles  given  in  the  T'ao  Shuo,  that  these  kilns  produced  cups, 
watering  pots,  basins  for  washing  brushes,  ink  palettes,  brush  rests, 
seals,  and  doubtless  all  the  little  articles  so  highly  prized  in  the  study  of 
the  Chinese  scholar. 


VARIETIES  AND  IMITATIONS 

We  have  seen  that  the  transfer  of  the  kilns  from  K'ai-feng  Fu  to  Hang- 
chou necessitates  differentiation  between  the  northern  and  the  south- 
ern Kuan. 

The  T'ang  Shih  Ssu  K'ao  says  that  “a  false  Kuan  was  made  at  Lung- 
ch'iian.”  There  seems,  however,  no  good  reason  for  assuming  that  the 
Lung-ch'iian  celadons  were  at  any  time  a conscious  imitation  of  the 
Kuan,  particularly  with  any  attempt  to  deceive,  though  the  similarity 
in  the  wares  may  have  led  to  some  confusion.  The  same  authority  says 
that  the  “secret  colour”  wares  of  Yii  Yao,  of  the  southern  Sung,  were 
often  mistaken  for  the  Kuan. 

C25] 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

Some  of  the  minor  kilns  turned  out  products  similar  to  the  Kuan, 
while  the  Ching-te-chen  factories  have  at  various  periods  produced 
wares  closely  resembling  them. 


EXAMPLES  OF  SUNG  KUAN 

It  is  only  quite  recently  that  native  or  foreign  collectors  have  taken  an 
interest  in  these  products  of  the  Sung  imperial  factories,  or  have  differ- 
entiated them  from  other  and  similar  celadons  of  corresponding  date. 
Therefore,  both  in  China  and  abroad  there  may  be  Kuan  pieces  which 
are  not  so  classed.  The  term  Kuan  yao,  as  used  in  Peking,  means  the 
output  of  the  imperial  Ching-te-chen  factories,  from  the  Ming  down- 
ward, whereas  Sung  Kuan  yao  means  any  high-class  Sung  ware,  pre- 
sumably made  for  imperial  use.  Intelligent  and  enthusiastic  native 
collectors  are  just  awakening  to  the  fact  that  an  old  celadon  gains  in 
interest  and  value  if  it  possesses  characteristics  which  refer  it  to  the 
K'ai-feng  or  Hang-chou  imperial  kilns. 

After  recent  careful  study  of  the  subject  and  exploration  of  the 
shops,  a Chinese  connoisseur  brought  me  a piece  which  he  is  willing 
to  vouch  for  as  a Sung  Kuan,  and  probably,  as  judged  by  the  nature  of 
the  clay,  from  the  K'ai-feng  kilns.  It  is  a plate  or  saucer,  eight  inches 
in  diameter.  The  colour  is  an  olive  green  with  a very  slight  tinge  of 
blue.  The  crackle  is  finest  in  the  centre,  running  into  larger  meshes 
toward  the  rim,  a considerable  portion  of  the  outer  edge  being  un- 
crackled. The  foot  is  perfectly  smooth  and  finely  finished.  The  piece 
has  rested  on  a five-pointed  object  during  firing,  and  the  copper-col- 
oured pate  is  shown  at  these  five  points.  It  has  been  buried  and  shows 
some  iridescence  in  the  bottom,  with  numerous  cloudy  spots  where  the 
glaze  has  been  eaten  away.  There  is  a round  black  spot  in  the  bottom, 
which  must  have  been  an  original  defect  in  the  piece.  It  bears  no 
ornamentation. 

Mr.  Myers,  our  consular  representative  at  Mukden,  tells  me  that  there 
is  a piece  marked  “Kuan”  in  the  imperial  collection  there.  He  charac- 
terises this  as  of  very  light  sky  blue. 

1:263 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 


HINTS  TO  THE  COLLECTOR 

I BELIEVE  the  search  for  Sung  Kuan  a more  hopeful  one  than  that  for 
Sung  Ju.  History  indicates  that  the  kilns  operated  longer,  and  the  list 
of  ol)jects  in  the  T'ao  Shuo  gives  them  a much  more  prominent  place. 
The  ware  was  heavy,  and  many  little  objects  for  the  library  table,  such 
as  seals,  were  of  a form  not  easily  destroyed.  They  must  exist  still, 
both  in  shops  and  private  collections. 

The  pate  can  hardly  be  relied  on  as  a distinguishing  feature.  It  was 
of  two  varieties,  and  that  of  the  north  must  have  been  very  like  the  Ju 
and  other  Honan  wares. 

It  appears  always  to  have  been  crackled,  and  there  is  no  record  that 
the  crackle  was  ever  of  the  fish-roe  variety.  This  will  serve  to  distin- 
guish it  from  the  fish-roe  crackle  Ko  wares  and  from  the  uncrackled 
Lung-ch'iian. 

There  was  no  cornelian  in  the  glaze,  or  at  least  no  mention  is  made 
of  it.  The  glaze  does  not  appear  to  have  been  as  thick  and  unctuous 
as  the  Ju. 

*Made  under  the  imperial  eye,  as  it  were,  these  pieces  appear  to  have 
been  very  well  finished,  but  a general  air  of  newness  will  mark  a piece 
as  a Ching-te-chen  imitation. 

Colouring  matter  rubbed  into  the  crackle  will  help  as  a means  of 
identification,  but  it  does  not  appear  that  this  was  always  done,  and  the 
method  has  been  widely  used  at  other  kilns. 


THE  LUNG-CH'UAN  CELADONS 

In  the  specifications  for  research  submitted  to  me  no  mention  was 
made  of  the  Lung-ch'iian  wares,  but  the  place  which  they  occupy  in 
the  history  of  the  Sung  potteries  is  so  important  that  they  cannot  be 
omitted  without  destroying  the  symmetry  of  the  story.  It  is  not  neces- 
sary, however,  to  go  into  the  matter  in  detail,  as  there  is  already  a vast 
amount  of  literature  on  the  subject,  as  well  as  many  extant  specimens. 
It  is  safe  to  say  that  the  Lung-ch'uan  wares  are  better  known,  both  to 

[27;] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

foreign  collectors  and  to  native  connoisseurs,  than  any  other  product  of 
the  Sung  kilns.  Dr.  Bushell  refers  to  the  Lung-ch'iian  as  “the  cKing 
tz"u,  or  green  porcelain  par  excellence  of  the  Chinese,  the  seiji  of  the 
Japanese,  the  martabani  of  the  Arabs  and  Persians.”  In  his  “Chinese 
Art,”  however,  he  illustrated  only  two  specimens  (and  these  both  from 
the  Ming  dynasty)  of  the  Lung-ch'iian  type,  but  not  from  the  Lung- 
ch'iian  kilns. 

The  original  Lung-ch'iian  potteries  were  at  the  villages  of  Liu-t'ien 
and  Chin-ts'un,  at  the  foot  of  Liu-hua  Shan,  in  the  district  of  Lung- 
ch'iian,  Ch'u-chou  prefecture,  province  of  Chehkiang.  The  T'ao  Lu 
states  that  the  kilns  were  in  operation  from  the  beginning  of  the  Sung, 
but  whether  they  began  with  the  Sung  or  were  even  older  is  not  stated. 
They  continued  to  operate  until  the  end  of  the  Yuan  dynasty,  when 
they  were  moved  to  Ch'u-chou,  about  seventy-five  miles  down  the  river, 
where  work  was  actively  continued  until  1620. 

A great  deal  of  confusion  will  be  avoided  if  it  be  recognised  that  the 
Lung-ch'iian  celadons  did  not  originate  with  the  Chang  brothers.  The 
T'ao  Lu  discusses  them  under  three  heads,  the  Lung-ch'iian,  the  Ko, 
and  the  Chang  Lung-ch'iian,  and  tells  us  definitely  that  the  former 
dated  from  the  beginning  of  the  Sung,  whereas  the  others  were  during 
the  Sung  dynasty.  Dr.  Hirth  gives  the  date  of  the  Chang  brothers  as 
southern  Sung  (1127-1278),  and  on  his  authority  Brinkley  refers  “the 
earliest  Lung-ch'iian  celadons”  to  this  date.  This  is  a misconception. 
The  Chang  brothers  merely  carried  on  a long-established  industry,  but 
made  such  changes  and  improvements  that  from  that  time  their  names 
were  attached  to  the  wares.  This  point  is  not  clearly  brought  out  by  all 
Chinese  writers  on  the  subject,  and  modern  Chinese  connoisseurs  do 
not  seem  always  to  make  the  distinction.  The  T'ao  Lu  is  my  chief 
authority  for  it,  but  the  older  works  do  not  refute  it,  and  it  seems  to 
me  to  be  brought  out  in  Dr.  Hirth’s  translation  from  the  Ch'ing  Pi 
Tsang,  as  follows: 

“Old  Lung-ch'iian  porcelain  is  fine  in  paste,  thick  in  make,  and  has 
an  intense  onion-green  or  tree-green  colour.  The  better  specimens  may 
compete  with  the  Kuan  yao,  but  there  is  not  much  in  the  way  of  a 
crackled  surface,  a brown  paste,  and  an  iron  foot.  Moreover,  they  can 

1:28:] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

stand  a very  great  deal  of  wear  and  tear  and  will  not  easily  spoil.  But 
as  the  manufacturers  were  somewhat  clumsy,  the  workmanship  shown 
in  these  porcelains  cannot  be  classed  as  representing  the  ancient  ele- 
gance in  style.  When  the  white  paste  is  so  covered  with  green  enamel 
that  at  the  places  where  it  is  not  put  on  thick,  white  patches  will  shine 
through,  this  is  the  porcelain  burned  by  Chang  Sheng  of  the  Sung 
dynasty,  and  therefore  called  Chang  yao;  when  compared  to  the  (ordi- 
nary) Lung-ch'iian  it  displays  greater  delicacy  of  workmanship.” 

Obviously  here  there  is  something  preceding  the  Chang  yao  with 
which  it  is  compared.  The  word  “ordinary,”  which  Dr.  Hirth  places  in 
parenthesis,  does  not  occur  in  the  original.  If  for  it  we  substitute  the 
word  “old,”  actually  used  at  the  beginning  of  the  paragraph,  we  shall 
see  the  force  of  the  comparison.  It  is  between  the  Chang  and  the  older 
and  coarser  ware  that  preceded  it,  not  between  the  Chang  and  a con- 
temporary inferior  product. 

Dr.  Hirth  also  translates  from  the  T'ao  Shuo: 

“The  Ko  yao  of  the  Sung  Dynasty.  The  porcelain  factories  of  Liu- 
t'ien  were  originally  in  the  hands  of  two  brothers,”  etc.  In  my  opinion, 
this  should  read  as  follows:  “The  Ko  Kilns  of  the  Sung.  Originally 
Lung-ch'iian,  Liu-t'ien  kilns  in  the  hands  of  two  brothers,”  etc.  The 
text  does  not  require  the  rendering  that  these  were  the  first  Liu-f  ien 
kilns,  and  the  context  does  not  support  it. 

Admitting,  then,  that  there  are  three  sorts  of  Lung-ch'uan  products, 
and  not  two,  as  is  usually  assumed,  let  us  see  what  are  the  character- 
istics of  each. 


THE  OLD  LUNG-CH'UAN 

According  to  the  T'ao  Lu,  the  clay  was  fine  and  white.  The  colour  of 
the  glaze  was  an  onion  green  and  there  was  no  crackle.  The  pieces 
were  heavy  and  durable  and  not  of  very  good  technique.  A kind  of 
basin  was  made  having  a pair  of  fishes  on  the  bottom  as  decoration 
and  brass  rings  serving  as  handles.  According  to  the  T'ang  Shih  Ssu 
K'ao,  only  the  finest  could  compete  with  Kuan  and  Ko,  and  few  had 
crackle  or  the  red  mouth  and  iron  foot. 

1:29] 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 


THE  KO 

This  was  ware  from  the  kiln  of  the  elder  Chang.  The  clay  was  fine 
and  of  reddish  colour  (though  perhaps  not  red  until  after  firing) . The 
fish-roe  crackle  was  so  prominent  a feature  of  this  ware  that  the  term 
Ko  yao  has  come  to  be  applied  in  a general  way  to  all  monochromes 
having  crackle  of  this  variety.  The  body  was  comparatively  thin  and 
the  colour  was  a cKing  varying  in  depth.  It  does  not  appear,  however, 
that  it  was  ever  an  onion  green  like  the  older  wares,  but  a native  con- 
noisseur tells  me  that  he  believes  the  genuine  Ko  of  the  Sung  to  have 
been  generally  of  a darker  tinge  than  the  Ghing-te-chen  imitations.  A 
straw-coloured  variety  was  also  produced.  Genuine  Sung  Ko  should 
show  the  red  mouth  and  iron  foot. 

THE  CHANG  LUNG-CHTAN 

These  were  from  the  kilns  of  the  younger  brother.  They  were  finer 
wares  than  the  Old  Lung-ch'uan,  and  differed  from  the  Ko  chiefly  in 
having  no  crackle.  Also  it  is  said  that  some  pieces  were  of  “kingfisher” 
ebbing,  a term  not  used  in  describing  the  Ko.  It  is  with  regard  to  the 
Chang  Lung-ch'uan  that  we  are  told  that,  notwithstanding  the  iron  foot, 
the  paste  was  white  where  not  exposed  to  the  direct  heat  of  the  furnace. 
I incline  to  the  belief  that  the  same  is  true  of  the  Ko,  and  that  the  Chang 
brothers  probably  used  the  same  kind  of  clay.  But  if  we  are  to  accept 
the  statements  of  the  T'ao  Lu  without  reservation,  we  must  hold  that 
the  clay  of  the  Old  Lung-ch'iian  was  white  before  and  after  firing,  that 
of  the  Ko  reddish,  and  that  of  the  Chang  Lung-ch'uan  white  with  the 
quality  of  turning  red  in  the  furnace. 

With  the  exception  of  the  notice  of  a pair  of  fishes  appearing  in  the 
bottom  of  Old  Lung-ch'iian  basins,  the  T'ao  Lu  says  nothing  with  regard 
to  the  decoration  of  Lung-ch'uan  wares.  We  know,  however,  from 
existing  specimens,  that  flowers,  fishes,  scroll-work,  etc.,  similar  to  the 
designs  used  on  the  Ting  yao  were  commonly  applied,  both  incised  and 
in  relief.  The  Ko  relied  for  decoration  on  its  crackle. 

All  sorts  of  articles  were  made  at  the  Lung-ch'iian  kilns.  Heavy 

CSO] 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

basins,  bowls,  and  plates  seem  to  have  been  the  characteristics  forms  of 
the  old  ware  and  of  the  Chang  Lung-ch'uan.  The  author  of  the  T'ao 
Shuo  enumerates  many  articles  of  Ko  ware,  in  quaint  and  grotesque 
form,  for  use  on  the  study  table.  Many  fine  vases  of  the  Ko  type  are 
now  seen,  but  these  are  comparatively  modern. 

VARIETIES  AND  IMITATIONS 

In  addition  to  the  old  ware  and  the  work  of  the  Chang  brothers,  we 
have  seen  that  similar  but  somewhat  inferior  ware  was  produced  at 
Ch'u-chou  until  the  beginning  of  the  seventeenth  century.  The  Ching- 
te-chen  kilns  have  always  been  active  in  the  imitation  of  these  wares, 
particularly  of  the  Ko  type,  and  they  have  turned  out  products  far 
superior,  in  workmanship  at  least,  to  their  originals. 

EXAMPLES  OF  LUNG-CH'UAN  CELADONS 

I AM  not  aware  of  having  seen  any  pieces  of  genuine  Sung  Ko.  I be- 
lieve, however,  that  such  may  be  found,  particularly  in  small  articles, 
both  in  shops  and  private  collections. 

A pair  of  line  vases  of  the  Ko  type  were  recently  presented  to  Mrs. 
Calhoun  by  President  Yuan  Shih-k'ai.  These  are  too  tine  in  workman- 
ship to  be  referred  to  the  Sung  kilns. 

I have  in  my  own  possession  a large  plate  of  the  Lung-ch'iian  type. 
It  is  heavy  and  of  coarse  workmanship,  sea  green  in  colour,  and  has 
a checkered  pattern  incised  in  the  paste  under  the  glaze.  It  has  the 
characteristics  of  the  old  ware,  but  may  have  proceeded  from  the  Ch'u- 
chou  kilns. 

Many  good  celadons  are  to  be  found  in  Japan.  In  the  Baron  Iwasaki 
collection  is  a spotted  celadon  dating  from  the  Ming.  This  yao  pien,  or 
“furnace  transmutation”  variety,  is  exceedingly  rare. 

Bushell’s  “Chinese  Art”  figures  two  Ming  celadons  of  the  Lung- 
ch'iian  type.  One  of  these  is  a plate  with  floral  decoration  incised  un- 
der the  glaze,  the  other  a double-bodied  vase,  the  outer  part  pierced 
with  scroll  foliage. 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 


THE  CHtiN 

The  Chiin  wares  have  never  been  accorded  high  rank  in  Chinese  litera- 
ture. I have  followed  the  order  of  the  T'ao  Lu  in  placing  them  after 
the  Ting,  Ju,  Kuan,  and  Ko;  and  the  T'ao  Lu,  in  doing  so,  has  followed 
the  example  of  the  older  writers.  The  author  of  the  T'ao  Shuo  de- 
scribes the  ware,  quoting  various  authorities,  but  I cannot  find  that 
he  has  given  it  any  place  in  his  catalogue  of  noted  pieces.  The  Chiin 
was  not  made  in  the  classical  shapes  of  the  old  bronzes,  and  its  brilliant 
colouring  did  not  appeal  to  the  old-time  Chinese  scholars  as  did  the  quiet 
elegance  of  the  Ting  and  the  celadons.  They  were  probably  somewhat 
inclined  to  class  it  as  they  do  cloisonne  enamels,  as  “fit  only  for  the 
apartments  of  the  women  and  unsuited  to  the  library  of  a scholar.” 
But  intrinsic  beauty  it  always  possessed,  and  the  passing  of  years  has 
given  it  the  dignity  of  the  antique.  It  has  fully  come  into  its  own,  and 
is  enjoying  a vogue,  both  among  native  and  European  collectors,  which 
it  is  not  likely  to  lose.  A Chinese  friend  recently  remarked  that,  from 
this  time  onward,  a piece  of  genuine  Sung  Chiin  must  go  on  increasing 
in  interest  and  value,  no  matter  what  changes  may  occur  in  fads  and 
fashions. 

The  place  at  which  this  ware  was  made  was  originally  known  as 
Chiin-fai  or  Chiin-chou,  the  name  being  changed  to  Yii-chou  under  the 
Ming  dynasty.  It  is  in  K'ai-feng  prefecture,  province  of  Honan.  Thus 
the  Chiin  proceeded  from  the  same  keramic  centre  as  the  early  Gh'ai 
and  the  Sung  Ju  and  Kuan.  The  kilns  dated  “from  the  beginning  of 
the  Sung,”  so  that  we  may  consider  the  Chun  as  among  the  oldest  of  the 
Sung  wares.  Under  the  Yiian  dynasty  they  turned  out  the  well-known 
Yiian  tz'u,  a product  inferior  to  their  work  under  the  Sung,  but  still 
possessing  much  merit.  When  they  ceased  to  operate,  I have  not  been 
able  to  learn.  The  degeneracy  of  the  wares  probably  began  as  soon  as 
the  Sung  capital  was  transferred  to  the  south. 

The  T'ao  Lu  quotes  the  T'ang  Shih  Ssu  K'ao  to  the  effect  that,  of  the 
Chiin  wares,  only  the  pots  and  saucers  for  growing  the  calamus  were 

C32  3 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

of  really  good  material.  Other  articles  are  said  to  have  been  of  sandy 
paste.  One  finds  peculiar  discrepancies  among  writers  in  English  with 
regard  to  the  quality  of  the  Chiin  paste.  Brinkley  calls  it  a kind  of 
faience,  although  he  speaks  of  the  Ju  as  a porcelain.  This  is,  of  course, 
a matter  of  definition  of  terms.  Neither  ware  approached  translucency. 
Hobson  correctly  states  that  the  Chiin  varied  from  porcellanous  stone- 
ware to  brown  and  red  pottery.  There  is  no  confusion  on  the  subject 
in  the  minds  of  the  Chinese.  They  separate  the  Chiin  into  two  distinct 
classes,  and  a dealer  or  connoisseur  will  always  refer  to  a piece  as  sha 
Vai  (sandy  paste)  or  tz'u  fai} 

At  the  beginning  of  my  researches  I was  very  sceptical  as  to  the  Sung 
origin  of  this  latter  class.  The  pate  is  very  unlike  that  of  other  Honan 
wares,  and  in  comparison  with  the  sha  Vai  it  is  found  associated  with 
a superior  technique  which  suggests  a later  and  more  advanced  stage 
of  the  art.  One  naturally  suspects  that  he  is  confronted  with  an  imita- 
tion from  the  kilns  of  Ching-te-chen,  but  having  repeatedly  found  such 
pieces  vouched  for  by  thoroughly  competent  and  absolutely  disinter- 
ested Chinese  authorities,  I now  feel  compelled  to  admit  their  verdict 
and  to  credit  their  explanation.  The  keeper  in  charge  of  the  collection 
of  H.  E.  Sheng  Hsiian-huai  assured  me  that  during  the  reign  of  the  Sung 
emperors  a certain  amount  of  tribute  clay  was  annually  sent  from  the 
vicinity  of  Ching-te-chen  to  be  used  in  the  imperial  kilns,  and  that  this 
was  devoted  to  the  manufacture  of  the  calamus  pots  and  bowls  and 
other  fine  articles  for  imperial  use,  whereas  the  coarser  articles  of  sha 
Vai  were  made  from  the  native  clays.  H.  E.  T'ang  Shao-yi  corroborates 
this  assertion.  Naturally  the  best  quality  of  glaze  and  the  skill  of  the 
best  workmen  would  be  applied  to  the  pieces  made  for  imperial  use 
and  from  tribute  clay,  and  thus  we  find  the  great  discrepancy  in  these 
vases  fully  accounted  for. 

The  colour  and  quality  of  the  glazes  were  the  distinguishing  features 
of  the  Chiin.  The  T'ao  Lu  says  that  rouge  or  cinnabar  red  was  most 
esteemed,  while  onion-green  and  inky-purple  ranked  next,  all  three 
being  considered  superior  provided  the  colours  were  pure  and  un- 


1 For  the  discussion  of  the  word  tz'u,  see  Glossary;  here  it  means  what  Hobson  calls 
“porcellanous  stoneware.” 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

mixed.  Other  tints  produced  by  the  admixture  of  these  three  colours 
in  the  firing  must  be  regarded  as  accidents  and  not  separate  varieties. 
If  the  old  potters  were  really  aiming  to  produce  monochromes,  exami- 
nation of  existing  specimens  would  indicate  that  accidents  were  much 
more  numerous  than  successful  essays.  Among  the  fanciful  names 
applied  to  various  shades  were  plum-green,  parrot-green,  hai-fang  red, 
pig’s  liver,  mule’s  lung,  mucus,  sky-blue,  etc.  These  terms  are  taken 
from  the  books.  I have  not  heard  them  applied  to  the  Chiin  wares  by 
native  connoisseurs,  except  in  the  case  of  the  fieii  Ian,  or  “sky-blue.” 
The  best  reds  are  referred  to  as  mei-lmei-hung,  or  “rose-red,”  and  yen- 
chih,  or  “rouge-red.”  The  latter  two  terms  do  not  mean  quite  the  same 
tinge,  yet  I have  heard  them  applied  by  different  connoisseurs  to  the 
same  piece.  Evidently  the  question  of  colour  terminology  is  as  vexing 
to  the  Chinese  as  to  ourselves.  I have  seen  no  brilliant  greens  appear- 
ing on  genuine  Chiin,  but  in  streaks  and  bands  where  the  glaze  appears 
to  have  run  thin  one  sees  a dull  tint  which  I have  heard  characterised 
as  “eel-skin”  or  “crab-shell.”  The  old  writers  lay  little  stress  on  the 
blue  shades  of  this  ware,  and  the  pieces  in  which  it  prevailed  do  not 
appear  to  have  been  highly  esteemed.  Yet,  as  a matter  of  fact,  blue  of 
varying  tint  is  the  prevailing  colour  in  most  extant  specimens.  Like 
the  blue  shown  in  our  specimen  of  Yiian  tz'u,  it  forms  a sort  of  ground- 
work for  the  other  colours,  which  appear  merely  as  transmutation 
effects.  In  its  deeper  tint  it  is  Vien  Ian,  or  “sky-blue”;  when  more  deli- 
cate it  approaches  yii  ko  Vien  chHng,  or  “blue  of  the  sky  after  rain.”  In 
English  works  it  has  been  called  blue-grey  and  lavender-grey.  It  does 
frequently  show  a decided  tinge  of  lavender,  and  it  must  be  remem- 
bered that  it  shades  gradually  into  purple  of  varying  depth,  and  from 
purple  into  the  highly  prized  reds.  But  even  when  the  outside  of  the 
piece  approaches  nearest  to  a monochrome  red,  the  lip  and  lining  will 
still  show  the  blue  as  a groundwork. 

To  my  mind,  there  is  a strong  similarity  in  colouring  running 
through  all  the  early  Honan  wares,  for  which  the  study  of  books  on  the 
subject,  whether  native  or  European,  does  not  fully  prepare  us.  The 
only  place  where  I have  seen  the  point  adequately  brought  out  is  in 
Hobson’s  introduction  to  the  Catalogue  of  the  Burlington  Fine  Arts 

[34^ 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

Exhibition  of  1910.  The  old  Honan  potters  were  all  trying  to  imitate 
the  Ch'ai,  and  in  their  tradition  at  least  the  Ch'ai  was  blue. 

That  which  particularly  distinguished  the  Chiin  was  the  furnace 
transmutation  effect.  This  was  probably  at  first  purely  accidental  and 
afterward  eagerly  seized  upon  and  controlled,  to  some  extent  at  least, 
by  the  Chiin-chou  potters.  We  have  seen  the  same  thing  occurring  in 
old  celadons,  but  rarely.  As  we  have  noted  elsewhere,  an  unexpected 
transmutation  occurring  at  Chi-chou  so  frightened  the  potters  that  they 
closed  their  kilns  and  ran  away.  Fortunately  the  workmen  of  Chiin- 
chou  were  less  superstitious. 

It  should  be  noted  that  the  Chinese  classify  furnace  transmutation 
effects  as  “natural”  and  “artificial,”  and  that  the  peculiar  excellence  of 
genuine  old  Chiin  lies  in  the  fact  that  it  belongs  to  the  former  class. 
The  latter  I have  heard  characterised  by  a Chinese  art  lover  as  “hide- 
ous.” I have  seen  pieces  of  Chiin  described,  in  catalogues  and  else- 
where, as  though  one  colour  had  been  applied  over  another.  This  could 
be  true  only  of  imitations.  Note  how  in  our  shards  of  Yiian  tz'u  each 
shade  of  colour  extends  through  the  thick  glaze  to  the  body  of  the  piece. 
A genuine  Sung  Chiin,  if  broken  and  examined,  will  show  the  same 
effect. 

As  a rule,  the  Chiin  was  not  crackled,  and  this,  in  my  mind,  forms 
one  means  of  distinguishing  it  from  the  Yiian  dynasty  output  from 
the  same  potteries.  The  distinction  is  not  absolute,  however.  There 
are  crackled  pieces  extant  which,  owing  to  the  superior  quality  of  their 
glaze,  have  been  classed  as  Sung.  I have  seen  one  piece  uncrackled 
except  for  a spot  of  fine,  accidental  crackle  about  the  size  of  a silver 
dollar  on  the  inside  rim. 

A passage  from  the  Liu  Ch'ing  Jih  Cha,  quoted  by  the  T'ao  Lu,  speaks 
of  marking  called  fu-ssu  wen,  sometimes  seen  on  the  Chiin  wares. 
This  has  occasioned  much  dispute.  Julien  translates  it  literally  “hare’s 
fur.”  It  is,  however,  the  Chinese  name  for  “dodder,”  and  Dr.  Hirth 
regards  this  as  the  more  likely  rendering.  Brinkley,  in  commenting 
on  the  passage,  falls  into  a peculiar  error.  He  says:  “What  the  passage 
in  the  Liu  Ch'ing  Jih  Cha  conveys  is  that  the  colours  of  the  Chiin  yao 
presented  a variegated  appearance,  like  the  green  and  white  on  the  leaf 


CHINESE.  COREAN,  AND  JAPANESE  POTTERIES 

of  the  dodder.”  This  is  of  course  untenable,  as  it  is  a well-known  fact 
that  the  dodder  has  no  leaf.  However,  the  yellow  stem  of  the  dodder, 
winding  in  and  out  among  the  leaves  of  the  plant  on  which  it  feeds,  does 
present  a striking  colour  contrast,  and  might  well  be  used  for  compari- 
son if  anything  similar  occurred  in  the  Chiin.  One  could  easily  under- 
stand it  as  applied  to  the  golden  lines  seen  in  the  black  Chien  tea  bowls, 
but  the  Chiin  presents  no  such  appearance,  and  the  term  is  never  heard 
applied  to  Chiin  by  modern  Chinese  connoisseurs.  These  latter  do, 
however,  point  with  great  pride  to  the  cKiu-ying  wen,  or  “earth-worm 
tracks,”  which  are  to  be  found  most  clearly  marked  in  the  bottoms  of 
the  best  pieces.  These  are  the  V-shaped  markings  to  which  Brinkley 
refers  as  “constituting  in  the  eyes  of  some  virtuosi  the  difference  be- 
tween excellence  and  mediocrity.”  They  form  the  only  characteristic 
markings  of  the  Chiin  wares,  and  so  far  as  my  observation  goes  they  are 
peculiar  to  the  Chiin,  so  that  they  constitute  valuable  marks  of  genu- 
ineness. The  more  clearly  defined  they  are,  the  more  highly  the  piece 
is  prized.  To  our  minds  they  would  never  suggest  either  “hare’s  fur” 
or  “dodder,”  but  on  the  other  hand  they  do  strikingly  resemble  “earth- 
worm” tracks,  and  that  is  what  the  Chinese  call  them.  They  are  quite 
familiar  to  all  who  have  seen  good  specimens  of  Chiin  saucers  or  bulb 
bowls. 

The  Chiin  was  undecorated  except  for  the  wonderful  play  of  colours 
in  the  glaze,  unless  the  rows  of  knobs  on  the  outside  of  certain  pieces 
be  classed  as  decoration.  The  wares  of  the  Chiin  potters  appear  to  have 
been  for  real  use  rather  than  ornament,  and  this  may  have  tended  to 
discredit  them.  The  flower  pots,  with  their  saucers,  on  which,  as  we 
have  seen,  their  best  skill  was  expended,  were  actually  adapted  to  the 
purpose  of  growing  plants  and  not  to  serve  by  themselves  as  cabinet 
ornaments.  The  passage  in  the  T'ao  Lu  referring  to  these  pots  and 
saucers  has  proved  a stumbling-block  to  numerous  translators,  and  is 
itself  a fine  example  of  the  difficulties  with  which  the  Chinese  language 
bristles.  Julien,  the  pioneer,  went  far  afield  by  rendering  it  “the  vases 
which  had  a sword-grass  painted  on  the  bottom,”  while  others,  recog- 
nising the  fact  that  this  was  never  done  and  endeavouring  to  correct 
him,  have  referred  to  these  pots  as  characterised  by  their  finely  finished 

fsen 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

bottom.  The  difficulty  is  in  the  Chinese  disregard  of  connectives,  and 
the  text  is  open  to  almost  any  construction,  even  that  of  Julien.  But  the 
experience  of  the  collector  conclusively  proves  that  the  expression  p'en 
ti  here  used  means  “the  pot  and  its  saucer”  and  not  “the  bottom  of  the 
pot.”  The  pots  have  holes  pierced  in  the  bottom  to  permit  the  water 
to  escape,  and  so  necessarily  rest  in  a shallow  saucer  meant  to  contain 
the  surplus  water.  They  narrow  toward  their  bases,  and  the  saucers 
in  which  they  rest  should  not  be  wider  than  the  mouths  of  the  pots. 
There  should  be  similarity  of  shape — e.g.,  a hexagonal  pot  should  have 
a hexagonal  saucer.  When  the  two  are  intact,  matching  in  shape  and 
colouring,  the  value  of  each  piece  is  greatly  enhanced.  Naturally  many 
more  saucers  than  pots  are  to  be  found  in  collections,  as  from  their 
shape  they  were  much  less  likely  to  be  destroyed. 

There  is  one  variety  of  dish  which  I have  heard  classified  by  some 
Chinese  collectors  as  ti,  or  “saucer,”  and  by  others  as  hsi,  a term  usually 
applied  to  bowls  for  washing  brushes.  Some  of  these  are  beautifully 
finished  pieces.  Like  the  ordinary  ti,  they  rest  upon  short  legs,  but  the 
piece  itself  is  somewhat  less  shallow  than  any  ti  which  I have  seen  asso- 
ciated with  its  p'en.  These  are  usually  finished  with  rows  of  knobs  on 
the  outside.  Some  of  them  might  serve  quite  satisfactorily  as  narcissus 
bulb  bowls,  and  I believe  they  have  been  so  designated  in  some  Euro- 
pean collections.  However,  I am  inclined  to  think  that  they  originally 
had  pots  to  match.  A friend  whose  collection  I recently  had  the  plea- 
sure of  examining  had  three  of  these  pieces,  of  varying  size  and  col- 
ouring, which  he  classified  as  hsi.  He  also  possessed  a magnificent  pot 
which  had  lost  its  saucer.  On  my  expressing  regret  at  the  loss  of  the 
saucer,  he  placed  each  of  the  three  in  succession  underneath  the  pot  to 
test  the  effect.  Each  had  to  be  rejected,  as  there  was  in  each  case  some- 
thing lacking  in  size  or  colouring,  but  in  shape  they  were  perfectly 
adapted. 

Among  other  articles  mentioned  in  the  T'ao  Lu  as  having  been  manu- 
factured at  the  Chiin  kilns  are  garden  stools,  small  round  boxes  with 
covers,  square  vases  and  jars. 


C37] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 


VARIETIES  AND  IMITATIONS 

It  is  said  that  specimens  of  Chiin  showing  all  the  variations  of  colour 
that  we  have  enumerated  were  sent  from  the  palace  to  the  Ghing-te- 
chen  factories  to  serve  as  models  during  the  reign  of  Yung  Cheng.  These 
would,  of  course,  be  the  best  of  their  class,  and  we  are  told  that  the 
imitations  were  executed  with  remarkable  skill  and  in  great  numbers. 
The  T'ao  Lu,  after  citing  the  criticism  of  the  T'ang  Shih  Ssu  K'ao  re- 
garding the  coarse  sandy  material  of  certain  Chun  pieces,  says:  “This 
can  only  apply  to  genuine  old  Chiin,  as  the  Ching-te-chen  imitations 
showed  splendid  results  in  vases  and  jars  also.”  Evidently  the  author 
means  to  assert  that  in  the  case  of  vases,  jars,  etc.,  at  least  so  far  as  the 
quality  of  the  paste  is  concerned,  the  imitation  is  to  be  distinguished 
from  the  original  by  its  superiority.  We  must  remember,  however, 
that  this  author  was  writing  the  history  of  the  Ching-te-chen  kilns,  not 
the  history  of  pottery  in  general,  and  that  he  was  interested  in  glorify- 
ing the  work  of  the  Ching-te-chM  potter.  The  modern  Chinese  con- 
noisseur prizes  a good  Yung  Cheng  Chiin  as  a thing  of  interest  and 
beauty  in  itself,  but  he  classes  it  far  below  his  genuine  old  Chiin,  and 
so  far  as  I can  judge  from  the  specimens  examined,  there  is  no  reason 
why  he  should  ever  mistake  the  one  for  the  other. 

Rut  the  kilns  of  Ching-te-chen  have  been  turning  out  imitations  of 
the  Chiin  wares  since  the  Yung  Cheng  period,  and  I understand  that  the 
Japanese  have  done  the  same.  There  was  nothing  fraudulent  in  the 
work  of  the  Yung  Cheng  potter.  He  was  honestly  striving  to  emulate, 
and  if  possible  to  improve  upon,  the  old  art.  Rut,  according  to  Burton, 
these  later  imitators  are  working  with  intent  to  deceive.  He  says  that 
their  works  are  clever  forgeries,  and  that  they  imitate  so  well  the  tech- 
nical imperfections  of  the  old  wares  that  it  seems  impossible  to  dis- 
tinguish them.  The  Chiin  wares  of  sha  fai,  or  sandy  paste,  have  been 
imitated  in  I-hsing  clay. 

• The  Yuan  tz'u,  which  is  the  Yuan  dynasty  descendant  of  the  Sung 
Chiin,  and  which  in  native  collections  is  usually  found  side  by  side  with 
it  though  far  less  highly  prized,  deserves  a section  to  itself. 

fss;] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 


EXAMPLES  OF  THE  CHUN  WARES 

In  the  opinion  of  H.  E.  T'ang  Shao-yi,  the  best  complete  set  of  Chiin 
pieces  now  in  existence  consists  of  four  flower  pots,  with  their  saucers 
intact,  eight  pieces  in  all,  which  were  formerly  the  property  of  Her 
Majesty  the  late  Empress  Dowager  Tzu  Hsi.  These  were  so  highly 
prized  by  her  that  she  kept  them  always  upon  the  table  before  her 
throne  or  chair  of  state,  filled  with  flowers  appropriate  to  the  sea- 
son, and  there  Mr.  T'ang  several  times  had  the  opportunity  of  seeing 
them.  These  pots  are  hexagonal  in  shape,  and  the  colour  is  the  linest 
vermilion.  Mr.  T'ang  never  had  the  opportunity  of  examining  them 
closely,  and  could  not  describe  them  in  detail,  but  in  his  judgment  they 
are  priceless.  He  believes  them  to  be  still  stored  in  the  palace,  though 
it  is  conceivable  that  during  the  troublous  period  of  the  Dynasty’s 
downfall  they  may  have  been  stolen  and  concealed,  or  even  put  upon 
the  market  by  eunuchs  or  palace  servants. 

The  finest  collection  of  Chiin  to  which  I have  been  given  access  is  that 
of  Mr.  (Chao)  Ch'ing  K'uan,  a retired  Manchu  gentleman  resident  in 
Peking.^  Among  his  pieces  I may  mention  the  following: 

A well-matched  flower  pot  and  saucer,  each  quadrangular  in  shape, 
the  pot  widening  toward  the  top,  as  most  of  these  pieces  do,  and  pre- 
senting the  appearance  of  a truncated  pyramid  inverted.  The  blue  of 
the  groundwork  is  the  fien-lan,  or  sky-blue,  and  the  prevailing  colour  is 
a fine  red.  This  red  being  the  colour  most  highly  prized  by  the  Chinese, 
Mr.  Ch'ing  K'uan  considers  the  set  the  best  in  his  collection.  The  incised 
numeral  is  10. 

Another  set — pot  and  saucer — are  oblong  hexagonal.  The  prevail- 
ing colour  is  a splendid  aubergine.  This  pot  is  remarkable  for  its 
“earth-worm  tracks,”  which  are  peculiarly  noticeable  both  outside  and 
inside.  Inside  they  are  largely  V-shaped  markings,  but  outside  they 
extend  in  long  lines  which  really  resemble  more  than  any  others  that 
I have  seen  the  lines  which  might  be  made  by  an  earth-worm  wriggling 


1 The  surname  Chao  has  been  assumed  by  Mr.  Ch'ing  K'uan  since  the  revolution  made  him 
a Chinese  citizen. 

C393 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

in  the  sand.  Unfortunately  the  rim  of  this  pot  had  been  removed  owing 
to  injury,  and  the  exposed  upper  portion  of  the  pot  had  been  ground 
down  and  painted  brown.  The  numeral  of  the  pot  is  7,  and  that  of 
the  saucer  10. 

Another  set  has  four  rounded  sides  and  shows  an  aubergine  colour- 
ing somewhat  lighter  than  the  preceding.  Its  “earth-worm  tracks”  are 
also  less  striking.  The  pot  is  number  4,  and  the  saucer  8. 

I did  not  measure  any  of  these  pieces.  The  height  of  the  pots  as  they 
rested  in  the  saucers  probably  average  about  seven  inches.  Both  pots 
and  saucers  rest  upon  squat  feet  corresponding  in  number  to  the  sides. 
The  bottoms  of  the  pots  are  pierced  with  holes  to  permit  the  escape  of 
surplus  water.  They  also  show  numerous  small  spur-marks. 

There  is  one  pot  with  globular  body  and  spreading  mouth,  but 
without  saucer.  This  is  about  seven  inches  high.  The  prevailing 
colour  is  blue,  but  some  good  touches  of  red  appear  on  the  bulging 
portion  outside.  The  numeral  is  6. 

This  collection  also  contains  a number  of  fine  Iisi,  or  bowls  for  wash- 
ing brushes.  It  was  by  this  term  that  the  owner  invariably  referred  to 
them.  However,  hereafter  I shall  mention  such  pieces  as  “bulb  bowls,” 
that  being  the  name  usually  given  them  by  writers  in  English.^ 

I was  not  able  to  see  the  collection  of  H.  E.  T'ang  Shao-yi,  it  being 
stored  in  Tientsin.  He  showed  me,  however,  one  favourite  piece  kept 
in  his  home  in  Shanghai.  This  is  a bulb  bowl  about  three  inches  high 
and  six  inches  in  its  greatest  diameter.  The  best  colouring  is  the  purple 
of  the  upper  inside  part.  The  bottom  of  the  interior  is  dotted  and  mot- 
tled and  of  a nondescript  colour  which  Mr.  T'ang  characterised  as 
“onion  chHng,”  explaining,  however,  that  in  his  idea  the  cKing  of  the 
onion  is  more  blue  than  green.  The  great  beauty  of  the  piece  is  in  the 
excellence  of  its  V-shaped  markings  or  “earth-worm  tracks,”  which  are 
peculiarly  well  defined.  The  exterior  is  finished  with  the  usual  row 
of  knobs.  The  numeral  is  9. 

The  best  specimens  of  Sung  Chiin  in  the  collection  of  H.  E.  Sheng 
Hsiian-huai  were  destroyed  by  a shell  during  the  recent  fighting  at  the 
Kiangnan  Arsenal.  Among  the  articles  remaining  were: 

1 Mr.  Ch'ing  K'uan’s  excellent  collection  of  Yiian  tz'u  will  be  mentioned  elsewhere. 

C403 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

A flower  pot  which  the  keeper  characterised  as  a Sung  Chiin  but  not 
a Kuan  or  Imperial  Chiin.  It  is  of  sha  fai,  or  sandy  paste. 

A ti,  or  saucer,  about  three  inches  in  its  greatest  diameter,  the  upper 
rim  incurved.  This  is  of  crude  appearance  but  has  some  good  spots 
of  red  colouring.  A mass  of  glaze  is  collected  at  the  bottom.  The  piece 
may  be  regarded  as  an  accident  of  the  furnace,  and,  though  not  well 
finished,  is  interesting. 

A writer’s  small  water  pot  of  tz'u  Vai,  or  the  better  quality  of  paste. 
The  colour  is  “blue  of  the  sky  after  rain”  and  the  glaze  remarkably 
thick,  as  may  be  seen  where  it  is  collected  in  irregular  masses  at  the  base. 

A large  plate  of  sha  fai,  the  colour  purple  and  blue  with  lines  of  red. 

A bowl  with  crackle  and  the  colour  effects  showing  in  large  splashes. 
This  had  to  me  the  appearance  of  Yiian  tz'u,  but  the  keeper  said  that  he 
classified  it  as  Sung  owing  to  the  peculiar  lustre  of  the  glaze. 

In  a shop  off  Kiukiang  Road,  Shanghai,  I found  an  excellent  speci- 
men of  hsi,  or  bulb  bowl.  It  is  a little  over  three  inches  high,  and  more 
than  nine  inches  in  diameter.  The  colours  are  sky-blue  and  aubergine, 
and  the  V-shaped  markings  are  excellent.  On  a spot  inside,  about  the 
size  of  a silver  dollar,  a fine  crackle  appears.  The  numeral  is  2.  The 
dealer  informed  me  that  this  piece  belonged  to  a private  collection  and 
had  been  placed  with  him  to  be  sold  on  commission. 

In  the  Wen  Yuan  Tzii,  Newchwang  Road,  Shanghai,  I found  a piece 
called  by  the  dealer  a flower  pot,  which  might  be  described  as  beaker- 
shaped. It  has  a bulging  centre,  narrowing  abruptly  and  then  widen- 
ing again  to  the  foot.  The  original  shape  of  the  upper  portion  could 
not  be  determined,  as  it  had  been  injured  and  a portion  ground  off.  A 
part  of  the  upper  portion  still  appears,  but  the  symmetry  is  destroyed. 
The  prevailing  colour  was  called  by  the  dealer  mei-kuei-hung,  or  “rose- 
red,”  but  to  my  eye  this  red  bears  a distinct  tinge  of  purple.  The 
groundwork  and  inner  lining  are  sky-blue,  and  a colour  something  like 
eel-green  appears  at  the  edges  where  the  glaze  has  run  thin.  A splash 
of  blue  colour  appears  on  the  inverted  bottom.  Four  bars  project  from 
each  of  the  three  sections  of  the  piece.  The  numeral  is  6.^ 

1 H.  E.  T'ang  Shao-yi  and  H.  E.  Chang  Yin-t'ang  both  examined  this  piece  and  certified  to 
its  genuineness,  though  they  considered  its  value  greatly  deteriorated  by  the  injury  to  the 
upper  portion.  The  colouring  they  pronounced  extremely  good. 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

Mr.  Chun  Chik-yu  writes  me  that  he  possesses  three  first-class  speci- 
mens of  genuine  “Northern  Sung  Chiin,”  and  he  figures  and  describes 
a pot  with  its  saucer.  These  two  pieces  have  four  rounded  sections  and 
are  oblong  in  shape,  the  greatest  length  being  seven  inches  and  the 
greatest  width  five  and  a fraction.  The  pot  is  two  and  three-eighths 
inches  high.  The  paste  he  calls  a “white,  warm  wax  colour,”  and  says 
that  this  may  be  determined  by  examination  where  the  glaze  has  run 
thin,  and  also  by  the  spur-marks.  It  is  “hard,  compact,  and  lustrous,” 
qualities  which  give  a good  background  for  the  glaze.  The  colour  is  a 
deep  plum-purple  with  touches  of  rose-red  at  the  four  legs.  A yellow- 
ish wax  colour  shows  at  the  edges,  and  the  inside  is  bluish.  “Both  inside 
and  outside  are  covered  with  a thin  frost,  and  the  worm  markings  show 
the  truer  colours.”  Mr.  Chun  encloses  a drawing  of  the  “earth-worm 
markings.”  Like  the  piece  described  from  the  collection  of  Mr.  Ch'ing 
K'uan,  these  are  V-shaped  on  the  inside  of  the  piece,  and  outside  run 
into  longer  lines,  which  really  suggest  the  name  given  them.  A few 
fine  crackles  which  Mr.  Chun  calls  “age-crackles”  are  to  be  found  “in 
the  parts  exposed  to  water.”  The  bottom  shows  five  colours — dark 
rose-red,  dark  purple,  sky-blue,  yellowish  olive,  and,  at  the  numeral 
mark  and  another  spot  where  the  glaze  is  thin,  a tobacco  brown.  The 
numeral  is  7.^ 

An  interesting  collection  examined  is  that  of  Mr.  Kuan  Mien-chiin 
of  Peking.  In  addition  to  various  pieces  similar  to  those  already  de- 
scribed, he  has  a garden  stool  about  two  feet  high,  similar  in  size  and 
shape  to  those  manufactured  and  used  nowadays,  which  he  believes  to 
be  a genuine  Sung  Chiin.  As  one  would  expect  from  the  reference  to 
these  stools  in  the  T'ao  Lu,  it  is  of  sha  fai,  and  not  the  finest  technique, 
but  it  is  none  the  less  an  object  of  great  beauty  and  interest.  It  has 
openings  in  the  shape  of  animal  heads  called  shou  fou,  and  is  deco- 
rated with  rows  of  knobs.  The  prevailing  colour  is  “blue  of  the  sky 
after  rain,”  but  is  quite  flecked  and  dappled.  The  glaze  is  pitted  in 
places  with  tiny  holes  which  Mr.  Kuan  called  “ant-tracks.”  On  the 

1 In  many  pieces  examined  I have  noted  the  frosty  appearance  to  which  Mr.  Chun  refers. 
The  colour,  particularly  on  the  inside,  which  is  usually  blue,  is  deeper  and  clearer  where  the 
V-shaped  marks  occur. 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

unglazed  surface  of  the  interior  are  peculiar  markings  which  look  as 
though  the  paste  had  been  pressed  and  patted  into  shape  with  a shell. 
The  stool  was  excavated  along  the  line  of  the  Pien-Loh  Railway.  I had 
the  temerity  to  ask  Mr.  Kuan  its  value.  He  said  that  it  cost  him  “three 
obeisances,”  and  was  not  for  sale  at  any  price. 

Among  Mr.  Kuan’s  specimens  was  a flower  pot  from  the  kilns  of 
Ching-te-chen.  It  was  not  meant  to  deceive,  for  it  bore  the  Yung  Cheng 
mark.  The  colour  is  too  uniform  as  compared  with  the  old  pieces,  and 
the  glaze  lacks  the  peculiar  opalescent  quality  of  the  Sung  Chiin.  The 
technique  is  excellent. 

This  list  is  already  so  long  that  I will  not  describe  the  various  pieces 
noted  in  catalogues,  etc.  I would,  however,  call  the  attention  of  the 
reader  to  the  Catalogue  of  the  Burlington  Fine  Arts  Exhibition  of  1910. 


HINTS  TO  THE  COLLECTOR 

The  Chiin  kilns  operated  for  a long  time,  and  the  output  was  prob- 
ably large.  The  wares  were  heavy  and  durable,  therefore  it  is  reason- 
able to  suppose  that  genuine  pieces  have  survived  to  the  present  day. 

The  paste  is  of  two  sorts — a light-coloured,  hard,  compact  paste 
called  tz'u  Vai,  and  a dark,  sandy  paste  called  sha  Vai.  Genuine  pieces 
of  the  former  will  be  found  chiefly  in  the  shape  of  flower  pots  and 
bowls;  of  the  latter,  in  vases,  various  small  objects  for  the  study,  etc. 

The  quality  of  the  glaze  can  be  learned  by  experience  only,  not  by 
description.  Perhaps  the  word  which  best  describes  it  is  “opalescent.” 

Red  is  the  colour  most  highly  prized.  Aubergine-ipurple  ranks  sec- 
ond. Pieces  in  which  either  of  these  colours  prevails  are  very  highly 
prized.  Even  slight  flecks  or  streaks  of  the  red  give  a piece  value. 

The  “earth-worm  tracks”  are  found  on  all  the  best  pieces. 

Chun  ware  is  usually  not  crackled.  If  crackle  does  exist,  it  is  inci- 
dental, and,  if  I understand  Mr.  Chun’s  theory,  not  due  to  the  cracking 
of  the  paste  in  cooling,  but  to  age  and  contact  with  water. 

All  really  good  specimens  have  the  incised  numeral  underneath.  It 
is,  of  course,  understood  that  the  numeral  in  itself  proves  nothing. 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

Hobson,  in  his  preface  to  the  Catalogue  of  the  Rurlington  Fine  Arts 
Exhibition,  speaks  of  a reddish-brown  dressing  which  appears  on  the 
bottom  of  some  of  the  pieces  classified  in  that  collection  as  Sung  Chiin. 
He  remarks  that  but  for  the  trustworthy  evidence  of  Chinese  connois- 
seurs to  the  contrary,  this  dressing  would  lead  him  to  consider  the  arti- 
cles Yung  Cheng  imitations.  My  experience  has  been  the  same.  Some 
of  the  best  pieces  that  I have  seen  have  this  dressing,  yet  they  are  owned 
by  men  who  have  spent  a lifetime  and  practically  unlimited  funds  in 
making  their  collections.  If  they  have  been  deceived,  how  shall  we 
escape!  But  personally  I should  prefer  a bottom  with  glaze  of  varie- 
gated colouring  like  that  described  by  Mr.  Chun.  I have  seen  no  state- 
ment in  literature  as  to  how  the  old  Chiin  potters  finished  the  bottoms 
of  their  pieces. 

The  market  is  flooded  with  imitations  in  response  to  the  present-day 
popular  demand.  I make  this  statement  on  the  authority  of  William 
Burton,  F.C.S.  (“Porcelain:  a Sketch  of  its  Nature,  Art,  and  Manufac- 
ture”). In  his  opinion,  some  of  the  later  imitations,  Chinese  and  Japa- 
nese, can  hardly  be  distinguished  from  the  originals. 

Nevertheless,  it  is  not  the  art  shops  of  Peking  or  Shanghai  that  are 
so  flooded,  for  the  casual  customer  rarely  sees  a piece  that  even  claims 
to  be  Sung  Chiin.  When  such  a piece  is  in  the  possession  of  a dealer, 
it  is  produced  only  when  asked  for,  and  is  usually  brought  forth  from 
some  back  room  or  upper  chamber,  where  it  has  been  hidden. 

Prices  are  high  and  mounting.  The  value  of  a flower  pot  or  bulb 
bowl  of  good  colour  and  marking  runs  into  thousands.  These  values, 
now  established,  are  not  likely  to  decrease,  unless  absolutely  successful 
imitations  are  made  in  large  numbers. 

THE  CHIEN 

Chinese  writers  do  not  class  this  ware  among  the  important  products 
of  the  Sung  dynasty.  As  it  was  not  imitated  at  the  Ching-te-chen  kilns, 
the  T'ao  Lu  discusses  it  only  in  the  chapter  on  “Ancient  Wares,”  and 
gives  a brief  description  which  appears  to  be  quoted  from  the  Ko  Ku 
Yao  Lun.  The  T'ao  Shuo,  however,  devotes  some  space  to  an  account 

1:440 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

of  the  vogue  which  this  ware  enjoyed  among  the  tea  clubs  of  ancient 
times.  Chinese  connoisseurs  of  the  present  day  know  very  little  about 
it,  but  the  Japanese  appear  to  be  full  of  enthusiasm  on  the  subject. 

This  ware  was  made  during  the  Sung  dynasty,  in  what  is  now  the 
district  of  Chien-yang,  Chien-ning  prefecture,  province  of  Fukien.  The 
city  was  at  that  time  called  Chien-chou.  According  to  the  T'ao  Lu,  the 
kilns  continued  to  flourish  during  the  Yuan  dynasty. 

The  Ko  Ku  Yao  Lun  says  that  the  pieces  were,  as  a rule,  quite  heavy. 
Such  lighter  pieces  as  were  produced  were  worthy  to  rank  with  other 
good  Sung  productions.  The  heavy  cups  were  much  sought  after  by 
the  tea-drinkers,  however,  as  they  had  the  quality  of  retaining  heat. 
The  Ts'ai  Hsiang  Ch'a  Lu  says  that  in  this  respect  the  Chien  bowls  ex- 
celled the  products  of  all  other  districts,  and  that  the  celadons  and  the 
white  wares  were  never  used  in  the  “tea  contests.” 

The  famous  glaze  of  the  Chien  must  not  be  conceived  as  a black 
monochrome.  It  was  a background  of  black  with  blue  and  purple  iri- 
descences and  shot  through  with  lines  of  golden  brown.  It  is  these 
lines  which  are  compared  to  “hare’s  fur,”  and  which  may  be  regarded 
as  one  of  the  chief  distinguishing  marks  of  the  Chien  ware.  The  Ko  Ku 
Yao  Lun  also  mentions  “pearl  drops”  which  appear  on  the  Chien  bowls. 
It  is  not  clear  whether  these  are  yellow  marks  which  appear  in  round, 
pearl-like  spots  instead  of  lines,  or  whether  they  are  patches  similar  to 
the  “tear-drops”  of  the  Ting. 

A book  called  the  Ch'ing  I Lu  calls  the  lines  on  the  Chien  ware  “par- 
tridge markings.”  This  appears  to  refer  to  a dappled  rather  than 
streaked  appearance. 

In  the  specifications  submitted  to  me  mention  was  made  of  certain 
decorative  designs  in  the  Chien  ware,  such  as  “birds  in  reserve,”  which 
were  sometimes  left  in  the  bare  paste,  and  also  “designs  of  night  and 
day,”  “running  water  effects,”  “still  pools,”  and  other  interesting  sug- 
gestive designs,  such  as  “rabbit’s  fur.”  It  is  quite  possible  that  designs 
in  reserve  were  sometimes  left  in  the  Chien  cups,  as  was  occasionally 
done  in  the  Lung-ch'iian  ware,  but  I have  seen  no  mention  of  such  a 
practice  in  either  European  or  Chinese  literature.  Brinkley  says  that 
sometimes,  in  specimens  of  later  date,  the  decoration  takes  the  form 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

of  conventional  phoenixes,  butterflies,  maple  leaves,  etc.,  “in  golden 
brown  of  the  most  satisfying  richness  and  beauty.”  I find  in  Chinese 
literature  no  evidence  that  there  was  ever  any  intentional  designing  on 
the  old  Fukien  tea  bowls.  A Japanese  lady,  in  explaining  to  me  the 
peculiar  esteem  in  which  these  bowls  have  always  been  held  by  the 
people  of  her  country,  said  that  they  were  able  to  see  in  them  “all  sorts 
of  scenery,”  but  she  did  not  mean  that  scenic  effects  had  been  definitely 
traced  and  intentionally  produced. 

The  vogue  enjoyed  by  the  Chien  wares  among  tea-drinkers  was  in 
part  due  to  the  thickness  of  the  material,  but  this  was  a quality  which 
might  be  easily  attained  at  any  kiln.  The  colour  of  the  glaze  was  a far 
more  important  factor  in  its  popularity.  Tea-drinking  in  ancient  times 
was  a cult — a ceremonial  observance — with  which  the  cultured  taste  of 
the  day  wished  to  associate  all  pleasure  possible.  The  blending  of  the 
Chien  jjao  glazes  with  the  colours  of  the  tea  was  considered  to  give  the 
most  pleasing  nuance  of  colour  that  the  potter’s  art  had  achieved.  This 
glaze  was  also  considered  to  have  the  power  of  preventing,  or  rather 
retarding,  the  process  of  evaporation,  and  for  this  reason  the  wares 
were  sometimes  called  “the  slow-drying  cups.”  To  understand  the 
Chinese  appreciation  of  this  quality  one  must  know  that  the  “tea  con- 
test” was  merely  a process  of  matching  cups  owned  by  different  indi- 
viduals to  determine  whose  cup  would  retain  moisture  longest.  He 
whose  cup  was  able  to  show  a trace  of  moisture  after  the  others  were 
entirely  dry  was  the  winner  of  the  tournament.  This  appears  to  have 
been  as  exciting  to  the  old-time  Chinese  as  is  the  Derby  to  a modern 
Englishman.  The  T'ao  Shuo  calls  attention  to  the  fact  that  the  sharp 
contrast  of  colour  between  the  tea  and  the  black  glaze  facilitated  the 
task  of  the  umpire. 

I am  not  prepared  to  give  the  history  of  the  Chien  tea  bowl  in  Japan. 
It  appears  to  have  been  much  more  appreciated  there  than  in  China, 
as  its  very  crudeness  made  it  appropriate  to  the  tea  ceremonial,  a very 
different  process  from  the  Chinese  tea  contest.  It  appears  that  a large 
portion  of  the  Chien  output  found  its  way  to  Japan,  and  also  that  repro- 
ductions and  modifications  of  the  ware  have  been  produced  in  great 
quantities,  both  in  Japan  and  Corea. 

[;463 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

Various  small  articles  other  than  tea  bowls  were  doubtless  produced 
at  the  Chien  kilns;  but,  considered  as  a keramic  product  simply,  the 
ware  was  very  lightly  esteemed  and  few  such  articles  have  been  pre- 
served. 

VARIETIES  AND  IMITATIONS 

The  T'ao  Shuo,  in  its  discussion  of  the  Chien  wares,  quotes  one  author- 
ity to  the  effect  that  the  black  “hare’s-fur”  cups  for  the  tea  contests  were 
first  made  at  Ting-chou.  We  have  seen  elsewhere  that  the  Ting-chou 
kilns  did  produce  a black  ware. 

The  wii-iii  yao,  or  “raven-clay  ware,”  appears  to  have  been  an  in- 
ferior, and,  judging  by  the  arrangement  of  the  T'ao  Lu,  an  earlier 
product  of  the  same  factories.  As  the  name  shows,  the  clay  was  very 
dark.  It  was  sometimes  given  a celadon  glaze,  and  the  P'ing  Hua  P'u 
compares  it  favourably  with  the  Lung-ch'iian  products,  whereas  other 
authorities  dismiss  it  as  unworthy  of  discussion. 


EXAMPLES  OF  THE  CHIEN  WARE 

I HAVE  not  been  able  to  find  any  cups  classified  as  Chien  in  Peking 
shops  or  private  collections.  The  collection  of  Mr.  Ch'ing  K'uan  con- 
tains a wide-mouthed  bowl  with  dark  brown  glaze,  dappled  with  lighter 
brown,  which  might  be  considered  as  corresponding  to  the  descriptions 
given.  The  owner  believes  it  to  be  a Sung,  but  says  that  it  is  not  from 
the  Chien  kilns.  It  may  be  a Ting-chou  product. 

In  the  Rurlington  Fine  Arts  Exhibition  of  1910  were  shown  two 
Chien  bowls  classified  as  Sung  or  Yiian.  They  were  the  property  of 
Mr.  W.  A.  Alexander.  They  are  of  dark  brown  stoneware  with  thick, 
purplish  black  glaze  shot  with  golden  brown.  The  rims  are  protected 
(or  concealed)  with  metal  bands. 

A small  vase  in  the  same  exhibition  was  classed  as  probably  Chien.  It 
was  described  as  follows:  “Vase  of  oval  form  with  straight  neck,  wide 
mouth,  and  two  loop  handles;  pale  buff  stoneware,  thin  brown  glaze 
inside;  in  neck  and  on  outside  thick  glaze  of  purplish  black  streaked 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

and  mottled  with  golden  brown, ^ stopping  in  an  uneven  line  short  of 
the  base.  Height,  four  and  three-fourths  inches.  Property  of  R.  H. 
Benson.” 

We  are  told  that  numerous  excellent  specimens  of  this  ware  are  to 
be  found  in  Japan,  and  it  had  best  be  studied  from  that  standpoint.  It 
will  be  necessary,  however,  to  discriminate  carefully  between  real  Sung 
Chien  and  similar  Japanese  and  Corean  pieces. 

1 The  dappled  appearance  of  the  golden  brown  in  the  illustration  might  suggest  “partridge 
feathers”  or  “pearls.” 


MINOR  KILNS  OF  THE  SUNG 


THE  TZ'U-CHOU  KILNS 

These  have  already  been  mentioned  in  connection  with  Ting  wares. 
Tz'u-chou  anciently  formed  part  of  Chang-te  Fu  in  Honan,  but  is  now 
under  the  jurisdiction  of  Kiiang-p'ing  in  Chihli.  It  is  to  the  south  of 
Ting-chou.  The  T'ao  Lu  tells  us  that  the  wares  made  there  were  as  fine 
as  Ting,  but  never  had  the  tear-marks.  There  were  both  incised  and 
painted  styles  of  decoration.  The  latter  was  usually  in  brown,  and 
there  are  many  extant  specimens  of  the  heavy  Vu  Ting  type  bearing 
this  brown  decoration.  Many  fine  pieces  from  the  collection  of  Mr.  G. 
Eumorfopoulus  were  shown  in  the  Burlington  Fine  Arts  Exhibition  of 
1910.  Prominent  among  these  are  figures  of  Shou  Lao,  and  other 
images. 

We  have  seen  that  brown  decoration  was  sometimes  used  on  the 
Ting,  but  it  was  so  much  more  common  in  the  Tz'u-chou  ware  that  this 
is  by  far  the  safer  classification  for  such  a piece.  The  distinction  is 
unimportant,  for  the  wares  were  so  alike  that  Chinese  authorities 
admit  the  impossibility  of  distinguishing  them. 

Sometimes  the  entire  piece  was  glazed  and  painted  brown  and  then 
a portion  etched  away,  leaving  the  design  showing  in  the  bare  paste. 
Examples  of  this  sort  are  not  uncommon  in  the  shops.  They  occur 
most  frequently  in  the  form  of  large  jars. 

The  Tz'u-chou  kilns  have  never  ceased  to  operate.  They  are  still 
turning  out  a cheap  ware,  commonly  used  in  Peking  for  domestic  pur- 
poses and  quite  similar  in  style  and  decoration  to  the  highly  prized 
wares  of  ancient  times. 

1:49:1 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 


THE  TUNG  KILNS 

These  were  private  kilns  which  operated  near  K'ai-feng  Fu  when  that 
city  was  the  capital  of  the  Northern  Sung.  They  produced  a celadon 
somewhat  similar  to  that  of  the  imperial  kilns,  but  of  inferior  quality. 
They  showed  the  “red  mouth  and  iron  foot”  so  much  prized  by  con- 
noisseurs, and  had  no  crackle.  The  uninitiated  might  find  some  diffi- 
culty in  distinguishing  them  from  the  uncrackled  Lung-ch'iian  cela- 
dons. 

The  Chinese  ideograph  for  Tung  originally  applied  to  these  wares 
was  that  meaning  “east.”  Owing  to  identity  of  sound,  it  has  in  the 
course  of  time  become  altered  to  the  ideograph  which  means  “winter,” 
so  that  the  term  may  now  be  rendered  “winter-green.”  Under  this 
latter  term  a number  of  specimens  are  catalogued  in  the  T'ao  Shuo. 

THE  TENG  KILNS 

These  were  at  Teng-chou  in  Nan-yang  prefecture,  province  of  Honan. 
They  produced  a ware  somewhat  resembling  the  Ju. 

THE  YAO  KILNS 

Yao-chou  was  under  the  prefecture  of  Hsi-an  in  Shensi.  These  kilns 
produced  a ware  resembling  the  Ju,  but  inferior,  and  also  a white  ware. 

THE  Yil-HANG  KILNS 

These  were  at  Yii-hang  hsien,  Hang-chou  prefecture,  province  of  Cheh- 
kiang.  The  colour  of  the  ware  was  like  that  of  the  Kuan,  but  it  lacked 
gloss.  It  was  uncrackled. 

THE  LI-SHUI  KILNS 

At  Li-shui  hsien,  Ch'u-chou  prefecture,  province  of  Chehkiang.  Their 
product  was  an  inferior  celadon  somewhat  resembling  the  Lung- 
ch'iian. 

cso:] 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 


THE  HSIAO  KILNS 

These  were  at  Hsiao  lisien,  Hsii-chou  prefecture,  province  of  Kiangsu. 
Here  also  was  the  “Village  of  White  Clay,”  and  the  kilns  were  some- 
times called  the  “White  Clay  Kilns.”  The  product  was  a rather  line 
white  ware. 

THE  CHI-CHOU  KILNS 

These  were  the  somewhat  noted  kilns  of  what  is  now  Ghi-an  Fu  in  the 
province  of  Kiangsi.  There  are  said  to  have  been  five  different  manu- 
factories there,  of  which  those  of  a Mr.  Shu  and  his  daughter  Shu  Ghiao 
were  the  best  known.  They  made  white  and  purple  wares,  the  latter 
resembling  the  purple  Ting. 

An  interesting  tradition  connected  with  these  kilns  is  that  on  one 
occasion  a certain  high  official  paid  them  a visit,  whereupon,  presuma- 
bly in  his  honour,  a batch  of  vessels  then  in  the  oven  were  suddenly 
transformed  into  jade.  One  would  suppose  that  this  might  have  been 
regarded  as  an  excellent  omen;  but,  on  the  contrary,  we  are  told  that 
the  potters  were  so  frightened  that  they  closed  their  kilns  and  ran  away 
to  Jao-chou  to  take  up  work  there  in  the  Ching-te-chen  factories.  This 
story  is  supposed  to  have  had  its  origin  in  some  unusual  and  unex- 
pected transmutation  effects. 

THE  HSIANG  KILNS 

The  location  of  these  is  not  known  with  certainty,  but  they  are  said  to 
have  been  in  Hsiang-shan  hsien,  in  Ningpo  prefecture.  They  operated 
under  the  Southern  Sung  and  produced  a white  ware  with  crab’s-claw 
crackle,  the  finer  pieces  of  which  were  compared  with  Ting. 

THE  Yii-TZ'U  KILNS 

These  were  at  Yii-tz'u  hsien,  Tai-yiian  Fu,  province  of  Shansi^  They 
continued  a manufacture  which  had  been  begun  under  the  T'ang  dy- 
nasty, and  produced  a coarse,  heavy  ware. 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 


THE  PTNG-YANG  KILNS 

These  were  also  in  Shansi  and  continued  a work  begun  under  the 
T'ang.  These  two  Shansi  kilns  are  of  no  interest  except  for  the  primi- 
tive character  of  their  work.  It  being  very  heavy  and  durable,  speci- 
mens doubtless  exist  to  the  present  day. 


THE  SU-GHOU  KILNS 

Located  at  what  is  now  Feng-yang  Fu,  they  made  an  imitation  of  the 
Ting  which  was  quite  widely  disseminated. 


THE  SZE-CHOU  KILNS 

These  were  in  the  province  of  Anhui.  The  ware  was  also  an  imitation 
of  the  Ting. 

Note.  With  so  many  kilns  turning  out  white  wares  of  the  Ting  type  and  celadons  of  vary- 
ing shades,  all  heavy  and  durable  in  character,  one  cannot  help  suspecting  that  many  extant 
specimens  classed  as  Ting,  Kuan,  Ju,  etc.,  if  really  dating  from  the  Sung,  are  products  of  the 
minor  kilns.  Particularly  is  this  true  of  the  many  pieces  which  lack  the  finish  and  the  beauty 
which  a study  of  the  literature  of  the  famous  kilns  has  led  us  to  anticipate. 


WARES  OF  THE  YUAN  DYNASTY 


Under  the  Yiian  rulers  there  was  no  sudden  change  in  the  keramic  art, 
but  the  product  gradually  deteriorated  owing  to  lack  of  imperial  pa- 
tronage. It  is,  of  course,  often  impossible  now  to  determine  with  cer- 
tainty to  which  period  many  pieces  belong,  and  the  classification  “Sung 
or  Yiian”  is  often  the  only  safe  one  to  adopt.  Native  connoisseurs  seem 
to  be  guided  chiefly  by  the  quality  of  the  glaze  in  deciding  the  question, 
and  in  many  cases  admit  their  inability  to  decide. 

White  wares  of  the  Ting  type  continued  to  be  made,  the  nearest 
approach  to  the  excellence  of  the  genuine  northern  Ting  probably 
being  the  work  of  P'eng  Chiin-pao  of  Ho-chou.  The  Ghing-te-chen 
kilns  turned  out  white  wares  and  celadons,  and  it  is  said  that  the  pieces 
destined  for  the  court  were  marked  with  the  characters  “Shu  Fu.”  We 
have  seen  that  the  Lung-clTiian  kilns  were  still  active,  but  their  work 
was  of  inferior  quality. 

But  though  white  wares  and  celadons  were  made  under  the  Yiian 
dynasty,  the  term  Yiian  tYu  as  used  by  the  Chinese  to-day  almost  in- 
variably means  the  somewhat  degenerate  output  of  the  Chiin  kilns, 
shards  of  which  are  shown  in  our  exhibition.  Along  with  the  superior 
Sung  Chiin,  this  ware  is  enjoying  a great  vogue  among  collectors  to-day. 
Many  broken  pieces  may  be  seen  in  the  Peking  shops,  and  they  are 
frequently  ground  into  various  shapes  for  belt  buckles  and  other  orna- 
ments. Pieces  in  good  condition  are  also  not  uncommon,  and  those 
showing  good  colouring  command  a high  price.  The  colouring  is  simi- 
lar to  that  of  the  Chiin,  but,  as  elsewhere  noted,  the  transmutation  tints 
are  more  likely  to  appear  in  bold  splashes  of  colour,  rather  than  in 
streaked  and  dappled  effects.  Crackle  is  far  more  common,  and  the 
paste  is  not  so  good  as  in  the  best  quality  of  Chiin.  However,  the 
Chinese,  in  deciding,  seem  to  be  guided  chiefly  by  the  quality  of  the 

1:533 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 


glaze.  A crackled  piece  with  bold  spots  of  colouring,  which  I should 
have  unhesitatingly  pronounced  Yiian,  was  classed  by  its  owner  as 
Sung  Chiin  owing  to  the  rich,  opalescent  character  of  the  glaze,  which 
he  said  never  was  achieved  during  the  Yiian  period. 

Fine  bowls  and  plates  of  this  ware  may  be  seen  in  Peking,  both  in  ' 
shops  and  private  collections.  In  the  collection  of  Mr.  Ch'ing  K'uan, 
for  example,  may  be  seen  a magnificent  tripod  censer  over  a foot  high, 
with  cover.  The  upper  rim,  having  sustained  injury,  has  been  ground 
down  and  finished  with  a band  of  copper,  and  ornaments  in  the  shape 
of  deer’s  heads  have  been  added.  Another  similar  censer,  somewhat 
smaller,  has  rim  and  ears  intact,  and  is  ornamented  with  a dragon  in 
relief.  Both  show  splendid  colouring.  Mr.  Ch'ing  K'uan  also  has  eight 
small  bowls  showing  good  spots  of  colour,  and  so  well  matched  that  one 
feels  almost  inclined  to  question  their  antiquity.  Among  various  other 
articles,  he  called  my  attention  to  a gourd-shaped  vase,  the  top  ending 
in  seven  tubes,  each  with  separate  opening  to  contain  a single  flower, 
and  finished  at  the  neck  with  a decoration  simulating  a knotted  ribbon. 
To  him  the  peculiar  excellence  of  this  piece  lies  in  a single  tricoloured 
spot  which  shows  red,  purple,  and  a greenish  turquoise  in  concentric 
circles — a most  interesting  trick  of  the  furnace. 


Rose  Sickler  Williams. 


GLOSSARY  OF  CHINESE  TERMS 


Yao  ( S,  ) . This  ideograph  is  derived  from  the  radical  hsiieh  ( K ),  meaning  a 
cave  or  pit,  and  the  phonetic  kao  ( A kiln;  the  product  of  a kiln;  pottery 

in  its  widest  sense. 

Yao  chiang  (%^  ).  A potter. 

Yao  kiing  ( ).  Potter’s  work. 

Yao  ( f. ).  Another  form  of  the  foregoing,  derived  from  the  radical  “cave”  and 
yao  ( 4- ),  a jar.  The  tirst  form  is  the  more  correct. 

T‘ao  ( PS  ) : from  the  radical  fu  ( p ),  a mound,  and  the  phonetic  tao  ( ),  which 

latter  is  also  used  without  the  radical  and  having  the  same  meaning.  A kiln. 

T'ao  jen.  A potter. 

T'ao  chi.  Pottery. 

(Though  yao  and  tao  may  be  alike  defined  “kiln,”  the  usage  is  not  the  same. 
T‘ao  is  never  used  to  designate  the  wares  emanating  from  the  kilns  unless  it 
has  the  word  chi,  “wares,”  following  it.) 

Ting  yao  ( ).  Wares  of  Ting-chou;  subsequent  wares  of  the  Ting  type. 

Pei  Ting  ( jls.  ).  Northern  Ting. 

Pai  Ting  (is'K  ).  White  Ting. 

Nan  Ting  { Southern  Ting. 

Fen  Ting  ( ).  Said  by  the  T'ao  Lu  to  be  applied  to  the  same  ware  as  the  term 

pai  Ting. 

T‘ii  Ting  ( di-%. ).  Literally,  “earth  Ting”:  a coarse,  crackled  Ting. 

Ju  yao  ( ).  Wares  of  Ju-chou, 

Kuan  yao  ( t S.  ).  Imperial  ware;  modern  application,  the  wares  made  for  im- 
perial use  at  the  Ching-te-chen  kilns. 

Sung  Kuan  yao  ( ^ f ^ ).  Imperial  ware  of  the  Sung:  specifically  applied  to  the 
product  of  the  kilns  which  were  located  at  the  capital,  but  not  restricted  to  these 
in  colloquial  use, 

Ko  yao  ( -f  ^ ).  Literally,  “elder-brother”  ware;  the  ware  made  at  Lung-ch'iian 
by  the  elder  Chang:  commonly  applied  to  other  wares  having  the  fine  fish-roe 
crackle  of  the  Sung  Ko. 

Lung-ch'iian  yao  ( ).  Wares  made  at  Lung-ch'uan.  ^ 

Chang  Lung-ch'iian  ( )•  The  wares  made  by  the  younger  Chang. 

Chiin  yao  ( The  wares  made  at  Chiin-kai,  now  Yii-chou. 

Chien  yao  ( ).  Wares  of  Fukien  province:  modernly  applied  to  the  ivory- 

white,  or  blanc-de-Chine. 

Sung  Chien  yao  ( t.^%  ).  The  black  or  dark-coloured  ware  made  in  Fukien  un- 
der the  Sung. 

Ch'ai  yao  ( ).  A ware  made  at  Cheng-chou  previous  to  the  Sung,  Largely 

traditional:  supplied  the  type  for  the  Honan  wares  of  the  Sung. 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

Pise  yao  ( “Secret  colour”  ware;  a ware  of  a colour  reserved  for  im- 

perial use. 

Sui-ch"i  yao  ( ).  Crackled  ware:  specifically  applied  to  a ware  made  at 

Chi-cliou  which  had  a colouring  pigment  ruhhed  into  the  crackle. 

Wa  ( ^).  A brick;  a tile:  commonly  used  to  distinguish  earthenware  from  stone- 
ware and  porcelain. 

Han  wa  ).  Earthenware  of  the  Han  period:  commonly  used  to  designate 

Han  tiles  and  all  recent  finds  of  mortuary  pottery  which  do  not  rise  to  the  rank 
of  stoneware. 

Tz"u  ( ^ ) : from  the  radical  wa  { 1.)  and  the  phonetic  tz‘u  Defined  in  the 

Shuo  Wen,  the  oldest  Chinese  dictionary,  as  “wa  chH,”  or  “earthenware.” 
Defined  in  the  Lei  Pien,  a dictionary  of  the  Sung  period,  as  “the  harder  and 
finer  product  of  the  kilns.”  Commonly  applied  now  to  stoneware  and  porcelain. 

Tz"u  ( ^ ) : from  the  radical  shih  ( A),  a stone,  and  the  phonetic  tz"u  ( ^ ). 
Sometimes  incorrectly  used  for  the  foregoing.  Defined  in  the  Shuo  Wen  as  “a 
stone  that  attracts  iron”;  a loadstone.  Also  the  name  of  the  Chou  city  in  south 
Chihli  where  wares  were  produced  similar  to  the  Ting  type.  From  the  fact  that 
this  city  produced  such  wares,  and  that  the  sound  is  identical  with  that  of  the 
word  meaning  “stoneware  or  porcelain,”  a certain  confusion  in  the  use  of  the 
word  has  arisen.  But  there  is  no  such  confusion  in  the  mind  of  the  Chinese 
scholar.  The  purist  never  uses  it;  and  all  arguments  as  to  the  date  of  the  origin 
of  porcelain  which  have  been  based  on  the  use  of  this  word  are  valueless. 

T‘ai  (At).  Literally,  “the  womb”;  a framework;  as  applied  to  porcelain,  the  body 
or  paste. 

Sha  Vai  ( ) . A sandy  paste. 

Tz'u  tai  { ^ At).  A stoneware  or  porcelain  paste. 

T'o  Vai  ( ).  Wares  from  which  the  body  has  been  removed;  egg-shell  wares. 

The  Chinese  also  speak  of  “semi  Vo  Vai.”  I should  regard  the  introduction  of 
these  terms  as  marking  the  date  of  the  advent  of  true  porcelain  in  the  sense  of  a 
translucent  ware. 

Yu  { -m).  The  glaze.  The  T'ao  Lu  calls  attention  to  the  fact  that  this  character  is 
frequently  written  in  various  incorrect  forms. 

Wen  ( ) . Lines  or  markings. 

Sui  wen  { Crackle. 

Yii-tz"u  wen  ( ,^-f  ) . Fish-roe  crackle. 

Hsieh-chua  wen  Crab’s-claw  crackle. 

ChHu-ying  wen  ( )•  Earth-worm  tracks:  the  characteristic  markings  of  the 

best  Chiin.  (This  is  a common  colloquial  term  not  found  in  literature.) 

Tussu  wen  ( )•  Dodder  markings  (?). 

Huang-tu  pan  ( Hare’s-fur  markings:  applied  to  the  black  Chien. 

Kao-lin  ( ).  Literally,  “a  high  range”:  applied  to  the  hills  near  Ching-te-chen 

from  which  the  clay  so  called  was  first  derived. 

P e-tun  tz^ii  ( “White  briquettes”;  the  porcelain  stone  after  having  been 

pulverised  and  shaped  into  bricks. 

Ching  ( ^ ).  Green,  blue,  black,  or  grey.  (See  note  to  translation.) 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

Yii  ko  tien  chHng  ( )■  “Blue  of  the  sky  after  rain”;  colour  of  the  tradi- 

tional Ch'ai.  Said  by  modern  connoisseurs  to  be  a delicate  grey-blue. 

Fen  Giving  ( ).  A pale  ch'ing. 

Mei-tz'u  clving  ( ) . Plum-green. 

T‘ien-lan  (^&  ).  Sky-blue. 

Yiieh-pai  i Moon- white. 

Chu-hung  ( ).  Vermilion  red. 

Chii-sha  hung  ( ) • Cinnabar  red. 

Mei-kuei  hung  ).  Rose-red. 

Mei-kuei  tz'u  A purplish  red. 

Chieh-p‘i  tz‘u  { sis. ‘t  ).  Aubergine,  or  “egg-plant”  purple. 

The  above  are  appended  in  the  belief  that  they  may  be  of  interest,  particu- 
larly to  the  student  who  has  some  knowledge  of  the  Chinese  characters. 


V "V  . 


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I 


CHINESE  AND  COREAN 


Note.  The  potteries  described  in  the  following  catalogue  are 
numbered  in  the  order  in  which  they  were  arranged  for  exhibi- 
tion; the  Japanese  objects  being  numbered  from  1 to  100;  the 
Corean  from  101  to  150,  and  the  Chinese  from  201  to  372, 


PREFATORY  NOTE 


CHINESE  AND  COREAN  POTTERIES 

Although  for  a long  time  past  a few  far-seeing  and  tasteful  collectors 
have  been  gathering  in  all  the  chance  specimens  of  early  pottery  and 
porcelain  which  have  strayed  from  China,  it  is  only  in  quite  recent 
years  that  a widespread  movement  has  been  apparent  in  Europe  and 
America  in  favour  of  the  earlier  phases  of  Chinese  art;  and  nothing 
could  be  more  symptomatic  of  this  movement  than  the  opening  of  an 
exhibition  in  which  the  Chinese  section  consists  entirely  of  Sung  and 
Yiian  types. 

The  circumstances  which  have  made  such  an  exclusive  exhibition 
possible  are  in  themselves  interesting.  The  growing  desire  among 
Western  collectors  to  possess  examples  of  the  beautiful  Sung  wares, 
and  the  consequently  enhanced  prices  which  these  wares  now  com- 
mand, have  created  a good  market  for  them  outside  of  China;  and  the 
demand  has  come  at  a time  when  the  conditions  prevailing  in  China, 
regrettable  as  they  are  from  so  many  points  of  view,  have  set  free  a 
supply  of  keramic  rarities  which  have  been  hitherto  jealously  guarded. 
At  the  same  time  our  knowledge  of  the  wares  themselves  has  been 
greatly  augmented  by  the  finds  of  early  pottery  and  porcelain  in  the 
ground  which  railway  construction  has  chanced  to  disturb.  Conse- 
quently there  has  been  a steady  stream  of  early  wares  leaving  China 
in  the  last  few  years,  potteries  coarse  and  refined,  grave-goods  and 
collectors’  masterpieces,  all  of  them  attractive  for  aesthetic  or  anti- 
quarian reasons.  Indeed,  it  is  surprising  how  few  of  these  old  potteries, 
even  of  the  roughest  of  them,  are  devoid  of  aesthetic  appeal;  while  of 
the  true  representations  of  the  Sung  pottery  words  are  impotent  to 
describe  the  subtle  beauty  and  charm. 

They  are  true  children  of  the  potter’s  art,  reflecting  in  their  strong 
but  graceful  contours,  in  the  skilful  finish  of  their  simple  forms,  the 
loving  touch  of  a master  hand.  They  are  clothed  in  the  purest  of  ker- 
amic adornments — glaze,  and  in  most  cases  glaze  alone.  Sometimes 
decoration  in  relief  (carved,  applied,  or  pressed  out  by  moulds),  or  in 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

fine,  firm  lines  traced  with  a metal  point,  is  added,  true  keramic  meth- 
ods which  consist  of  adding  or  subtracting  clay  and  clay.  Even  when 
the  adventitious  aid  of  the  painter’s  brush  is  requisitioned,  the  pigment 
used  is  almost  always  a coloured  clay. 

But  the  outstanding  feature  of  the  Sung  and  Yuan  wares  is  the  beauti- 
ful colour  which  pervades  the  glaze, — colour  due  in  part  to  infinitesimal 
quantities  of  iron  and  copper  oxides  transformed  by  the  magic  of  the 
fire  into  innumerable  shades  of  green  and  brown,  crimson  and  purple, 
turquoise  and  even  black,  but  due  perhaps  more  especially  to  opales- 
cence, the  happy  accident  of  an  immature  technique  in  which  the  thick, 
slow-flowing,  irregular  glaze,  full  of  minute  bubbles  and  pin-holes, 
breaks  up  the  light  as  it  receives  it  into  unimagined  combinations  of 
prismatic  colours.  This  is  the  secret  of  the  ever-changing  tints  of  the 
Chun  ware,  to  which  age  has  added  a further  charm  by  investing  the 
surface  of  the  glaze  with  a faint  iridescent  lustre. 

Add  to  these  the  smooth  soft  green  of  the  celadon  and  the  refined 
ivory  and  waxen  whites  of  the  Ting  wares,  and  the  growing  admiration 
for  the  early  Chinese  potteries  needs  no  further  explanation.  Indeed, 
the  colours  of  the  Sung  and  Yuan  glazes  are  the  most  subtle  and  at  the 
same  time  the  most  sensuous  in  the  whole  range  of  keramic  art. 

Nor  is  this  all.  Compared  with  later  Chinese  porcelains,  the  early 
wares  have  the  advantage  of  appealing  more  strongly  to  the  sporting 
instinct  at  the  back  of  every  collector’s  mind.  The  former  are  well 
known  and  easily  placed,  and  they  can  be  acquired  without  difficulty 
by  those  who  have  the  means.  The  latter  are  still  rare  enough  to  re- 
quire hunting,  and  they  are  a difficult,  elusive,  and  often  dangerous 
quarry  worthy  of  a true  collector’s  steel.  The  knowledge  of  them  has 
only  just  begun:  there  are  new  fields  to  be  explored  and  fresh  discov- 
eries to  be  made.  At  present  we  have  tasted  just  enough  of  their  quality 
to  make  our  appetite  insatiable. 

As  to  their  classification,  it  is  still  largely  tentative  and  must  remain 
so  until  systematic  excavation  is  made  and  literary  evidence  is  supple- 
mented by  spade-work.  One  type  of  Chiin  ware,  for  instance,  is  clearly 
established;  but  the  same  name  is  used  to  cover  other  large  groups,  one 
of  which,  called  “soft  Chiin”  in  the  catalogue,  differs  widely  in  its  buff- 

1:623 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

red  paste  and  crystalline  glaze  from  the  traditional  Chiin  type.  One  or 
two  kinds  of  Ko  ware  are  recognised,  while  others  and  the  cognate 
Kuan  wares  are  still  conjectural  and  as  misty  as  the  smooth  lavender- 
grey  glaze  which  I have  tentatively  associated  with  the  name  of  Kuan 
in  the  descriptions.  The  typical  Lung-ch'iian  celadon  is  well  known, 
but  there  are  many  other  celadons  awaiting  identification;  and  the  same 
partial  recognition  has  been  reached  in  the  large  group  of  Ting  wares. 
There  is,  in  fact,  abundant  scope  for  research  and  discovery. 

Literary  evidence  has  been  our  mainstay  hitherto,  and  the  results, 
though  incomplete,  are  not  altogether  negligible.  A single  instance  will 
serve  to  illustrate  its  value  and  at  the  same  time  to  introduce  the  Corean 
wares  which  are  described  in  another  section  of  the  catalogue.  Hsii- 
ching  was  an  officer  in  the  suite  of  Lu  Yun-f  i,  who  went  on  an  embassy 
to  Corea  in  1125,  and  among  the  notes  which  he  made  on  that  country 
are  the  following  instructive  paragraphs: 

“The  wares  of  Kao-li  (Corea)  which  are  green  {ch'ing)  in  colour  are 
described  as  fei  (kingfisher)  by  the  people  of  the  country.  In  recent 
times  the  fashion  of  these  wares  has  been  clever,  and  the  colour  and 
glaze  even  better  (than  the  form).  The  shape  of  the  wine  pots  is  like 
a gourd,  with  small  cover  on  the  top  in  the  form  of  a duck  squatting 
on  a lotus  flower.  They  have,  besides,  bowls  {wan),  platters  (Vieh), 
wine  cups  (pei)  and  (tea)  cups  (on),  flower  vases  and  soup  bowls 
{Vang  chan),  all  closely  copying  the  style  and  make  of  Ting  ware.  . . . 
Only  the  wine  pots  present  novel  features. 

“In  Kao-li  the  drinking  vessels  and  dishes  for  the  banquet  table  are 
mostly  of  gilt  metal  or  silver,  but  green  pottery  vessels  are  also  highly 
prized.  There  are,  besides,  lion  {suan  i)  incense-burners  which  are 
also  fei  colour.  The  creature  squats  on  top  of  the  vessel,  supported  by 
an  upturned  lotus.  Of  all  the  wares,  only  these  are  of  exceeding  excel- 
lence. The  rest  have  a general  resemblance  to  the  old  pise  (secret 
colour)  ware  of  Yiieh-chou  and  the  recent  wares  of  Ju-chou.” 

As  we  are  quite  familiar  with  the  Corean  celadon,  we  obtain  from 
this  last  passage  a clear  hint  as  to  the  nature  of  two  rare  Chinese  wares. 


R.  L.  Hobson. 


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CHINESE 


SOFT  CHUN  WARE 

201  Vase  of  pomegranate  form  with  S-shaped  foot.  Reddish  buff  ware  with  thick 
opalescent  glaze  of  turquoise  colour  faintly  crackled,  and  frosted  in  places  with 
brown  and  splashed  with  crimson. 

Soft  Chiin  type : probably  Sung  dynasty. 

H.  3 inches.  D.  2%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

202  Water  pot  of  depressed  globular  form  with  small  mouth.  Reddish  buff  ware 
with  crackled  opalescent  glaze  of  turquoise  colour  with  broad  band  of  plum  pur- 
ple blotched  with  turquoise  and  faint  green  stains. 

Soft  Chiin  type : Sung  dynasty. 

H.  1%  inches.  D.  3 inches.  Loaned  by  Mr.  Alfred  N.  Beadleston. 

203  Vase  with  conical  bud-shaped  body  and  small  mouth.  Reddish  buff  ware 
with  thick  opalescent  turquoise  glaze,  lightly  crackled  and  shading  off  into  faint 
purple. 

Soft  Chiin  type : probably  Sung  dynasty. 

H.  3%  inches.  D.  3 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

204  Water  pot,  melon-shaped  with  five  lobes;  small  mouth,  short  spout,  and  loop 
handle  with  a bud-shaped  thumb-piece.  Reddish  buff  ware  with  thick  opalescent 
turquoise  glaze,  lightly  crackled  and  breaking  into  crimson  on  the  lower  parts. 
Soft  Chiin  type : probably  Sung  dynasty. 

H.  BVs  inches.  D.,  with  spout  and  handle,  3^4  inches. 

Loaned  by  Mr.  Samuel  T.  Peters. 

205  Vase,  bottle-shaped  with  pear-shaped  body,  slender  neck,  and  spreading 
mouth.  Buff  ware  with  faintly  crackled  turquoise  glaze,  with  a purple  splash  on 
the  neck  shading  off  into  purplish  brown. 

Soft  Chiin  type : probably  Sung  dynasty. 

H.  4 inches.  D.  3 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

206  Vase  with  globular  body  and  short  narrow  neck  slightly  tapering  upward. 
Bufl'  ware  with  thick  opalescent  turquoise  glaze  lightly  crackled. 

Soft  Chiin  type : Sung  dynasty. 

H.  4 inches.  D.  3^^  inches. 

C6s: 


Loaned  by  Mr.  Samuel  T.  Peters. 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

207  Vase  of  ovoid  form  with  small  mouth.  Reddish  buff  ware  with  thick  opales- 
cent turquoise  blue  glaze  crackled  and  forming  in  billowy  lumps  on  the  sides  and 
splashed  with  three  symmetrical  crimson  patches  on  the  shoulder. 

Soft  Chun  type : probably  Sung  dynasty. 

H.  41/2  inches.  D.  2%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

208  Vase  of  baluster  form,  shaped  in  four  lobes:  high  shoulders  and  small 
mouth.  Reddish  buff  ware  with  thick  opalescent  turquoise  glaze  lightly  crackled 
and  almost  entirely  transmuted  into  dull  purple,  which  is  broken  here  and  there 
by  “earth-worm”  markings. 

Soft  Chiin  type : probably  Sung  dynasty. 

H.  6%  inches.  D.  3 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

209  Vase  of  baluster  form  with  high  shoulder  and  small  mouth.  Reddish  buff 
ware  with  crackled  turquoise  glaze  faintly  tinged  with  lavender,  and  frosted  with 
brown  on  the  sides. 

Soft  Chiin  type:  probably  Sung  dynasty. 

H.  6%  inches.  D.  3%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

210  Vase,  pear-shaped  with  slender  neck,  spreading  mouth,  and  two  dragon  han- 
dles : on  a pentagonal  stand  with  five  small  feet  and  the  sides  pierced  with  quatre- 
foil  openings.  Buff  ware  with  thick  opalescent  turquoise  glaze,  crackled  and 
shrunk  into  an  uneven  surface  like  orange  peel:  light  splashes  of  crimson  here 
and  there. 

Soft  Chiin  type : probably  Sung  dynasty. 

H.  7%  inches.  D.  3%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

211  Vase,  melon-shaped  with  eight  shallow  lobes:  low  neck  and  base.  Buff  pot- 
tery with  opalescent  turquoise  blue  glaze  finely  crackled  and  flowing  unevenly  so 
that  the  body  colour  shows  through  in  places.  Light  tinges  of  purple  and  crimson 
and  greenish  patches  appear  here  and  there. 

Soft  Chiin  type:  Sung  dynasty. 

H.  4%  inches.  D.  6 inches.  Loaned  by  a collector. 

212  Vase  of  baluster  form,  shaped  in  four  lobes : high  shoulders  and  small  neck. 
Reddish  buff  ware  with  thick  opalescent  turquoise  glaze  lightly  crackled  and  shad- 
ing off  into  faint  purple  on  one  side.  Two  curious  pointed  oval  depressions 
appear  on  the  other  side. 

Soft  Chiin  type : probably  Sung  dynasty. 

H.  81/4  inches.  D.  4%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

213  Water  dropper  in  form  of  a squatting  hen  with  one  chicken  on  its  back  and 
the  head  of  another  appearing  from  under  its  wing:  cleverly  modelled.  Soft  red- 
dish buff  ware  with  opaque  crackled  glaze  of  white  colour  faintly  tinged  with  tur- 
quoise, broken  here  and  there  by  small  splashes  of  dark  ruby  red.  The  glaze  is 
much  decayed,  and  encrusted  with  a brownish  film,  and  shows  an  occasional  iri- 

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No.  216 


NO.  294 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

descence.  There  is  an  oval  opening  in  the  hack,  and  the  heak  is  pierced  to  serve 
as  a spout. 

Soft  Chiin  type:  Sung  dynasty. 

H.  6 inches.  L.  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

214  Vase  of  oval  form  with  small  low  neck  and  projecting  lip.  Buff  pottery  burnt 
reddish  at  the  base  rim,  with  thick  opalescent  glaze  finely  crackled  and  ending  just 
short  of  the  foot  outside.  The  colour  is  turquoise  blue  warming  into  lavender, 
with  large  flushes  of  rosy  purple. 

Soft  Chiin  type:  Sung  or  Yiian  dynasty. 

H.  9 inches.  D.  5%  inches.  Loaned  by  a collector. 

215  Vase  with  pear-shaped  body,  the  lower  part  moulded  with  slightly  raised 
lotus  petals:  contracted  neck  and  spreading  mouth  with  raised  studs  suggesting 
the  seed-pod  of  the  lotus.  Buff  stoneware  with  thick  opalescent  glaze  minutely 
crackled,  and  of  turquoise  colour  passing  into  lavender  and  sky  blue  and  fading 
into  a dull  purple  on  the  sides. 

Soft  Chiin  type:  probably  Sung  dynasty. 

H.  I41A  inches.  D.  8A  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

216  Vase  with  globular  body,  and  short  neck  expanding  into  a wide  flat  flange  at 
the  mouth.  Beddish  buff  ware  with  thick  opalescent  glaze  faintly  crackled, 
the  colour  dull  turquoise  with  passages  of  lavender  and  shading  off  into  dull 
purplish  tone  on  the  sides.  The  glaze  on  the  mouth  rim  is  deeply  flawed  by  the 
bursting  of  bubbles. 

Soft  Chiin  type : probably  Sung  ware. 

H.  9%  inches.  D.  10%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

CHtlN  WARE 

217  Tray  with  moulded  eight-foil  sides  and  narrow  rim  with  wavy  edge.  Grey 
porcellanous  ware  with  crackled  opalescent  glaze  of  greyish  white  tinged  with 
pale  lavender. 

Chiin  or  Kuan  ware  of  the  Sung  dynasty. 

D.  4%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

218  Plate  with  straight  sides  and  narrow  rim.  Greyish  buff  stoneware  with 
crackled  opalescent  glaze  of  pale  lavender  grey  sown  with  purple  points  and 
broken  by  two  purple  splashes  with  green  frosting  in  the  centres:  the  bases 
unglazed. 

Chiin  type : Yiian  dynasty. 

D.  5%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

219  Shallow  bowl  of  grey  stoneware  burnt  rusty  red  on  the  foot  rim.  Crackled, 
opalescent  glaze  of  misty  grey-white  tinged  with  lavender : splashes  of  purple  and 
crimson  with  green  and  russet  in  their  centres.  Glaze  inside  the  base. 

Chiin  or  Kuan  type ; Sung  dynasty. 

H.  1%  inches.  D.  6%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

cw: 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

220  Stand,  saucer-shaped  with  narrow  flange  and  a small  rounded  cavity  in  the 
centre  to  hold  a cup  ( ?) : the  sides  pierced  with  nine  oval  perforations.  Grey 
porcellanous  ware  burnt  buff  brown  on  the  raw  edge  of  the  foot  rim.  Opalescent 
glaze  with  a surface  like  sugar  icing,  and  of  greyish  white  colour  tinged  with  pale 
purple  and  broken  here  and  there  with  rusty  brown  spots  and  stains:  the  base 
glazed  beneath. 

Chiin  or  Kuan  ware : Sung  dynasty. 

D.  6%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

221  Saucer  dish  with  narrow  flanged  rim.  Porcellanous  ware  burnt  red  at  the 
base,  which  is  unglazed:  the  rest  of  the  surface  covered  with  a smooth  opalescent 
glaze  of  pale  delicate  lavender  grey  or  clair-de-lune  with  two  patches  of  purple 
finely  powdered  with  grey  specks.  The  glaze  is  boldly  but  irregularly  crackled. 
Probably  Kuan  ware  of  the  Sung  dynasty. 

D.  7%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

222  Dish  with  narrow  edge.  Porcellanous  ware  entirely  covered  with  a smooth 
opalescent  glaze  of  pale  lavender  grey.  Three  spur-marks  under  the  base. 

Chiin  type : Sung  dynasty. 

D.  ly^  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

223  Plate  with  narrow  rim.  Grey  porcellanous  ware  with  opalescent  glaze  of 
misty  lavender  grey  colour  specked  with  white  and  breaking  into  large  patches 
of  plum  purple  with  crimson  tinges.  The  surface  is  lightly  frosted  with  brown. 
Three  spur-marks  beneath. 

Chiin  or  Kuan  ware : Sung  dynasty. 

D.  lys  inches.  Loaned  by  Mr.  Alfred  N.  Beadleston. 

224  Saucer  dish  of  reddish  buff  stoneware  and  opalescent  glaze,  sparsely  crack- 
led. The  colour  is  a misty  lavender  grey  faintly  frosted  with  brown  and  splashed 
with  crimson.  The  base  has  a smear  of  brown  glaze;  and  the  numeral  erh  (two) 
has  been  incised,  apparently  after  firing. 

Chiin  type : Sung  or  Yuan  dynasty. 

D.  7%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

225  Plate  with  narrow  flat  rim  with  six-foil  edge.  Grey-white  porcellanous  ware 
with  opalescent  glaze  of  pale  lavender  blue,  faintly  crackled  with  irregular  lines. 
Hollow  base  partially  glazed. 

Chiin  or  Kuan  ware  of  the  Sung  dynasty. 

D.  7%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

226  Dish  with  narrow,  flanged  rim.  Grey  porcellanous  ware  covered  entirely 
with  a crackled  opalescent  glaze  of  pale  lavender  tint,  frosted  over  in  places  with 
a brownish  film  broken  here  and  there  by  “earth-worm”  marks.  Five  spur-marks 
under  the  base. 

Chiin  or  Kuan  ware : Sung  dynasty. 

D.  7^2  inches. 

nesn 


Loaned  by  Mr.  Samuel  T.  Peters. 


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No.  232 


No.  348 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

227  Dish,  saucer-shaped.  Buff  stoneware  with  opalescent  glaze  which  ends  in 
waves  and  large  drops  around  the  foot  rim.  The  colour  passes  from  thin  olive 
brown  through  lavender  into  a greenish  grey  pool  flecked  with  brown  and  burst- 
ing out  into  a large  purplish  splash  in  the  centre.  Similar  colouring  outside,  but 
more  heavily  mottled  with  brown  flecks. 

Chiin  type:  Yiian  dynasty.  tr 

D.  7%  inches.  ' Loaned  by  Mr.  Samuel  T.  Peters. 

228  Saucer  dish  with  scalloped  sides,  and  a large  peach-blossom  with  leaves 
modelled  in  low  relief  inside.  Porcellanous  stoneware  burnt  reddish  brown  on 
the  raw  base.  Thick  opalescent  glaze  with  wonderful  play  of  colour  and  freely 
crackled.  The  colour  passes  from  pale  transparent  greenish  brown  on  the  salient 
parts  to  lavender  blue  finely  flecked  with  grey;  there  are  occasional  spots  and 
streaks  of  deep  crimson  brown,  and  two  patches  of  amethystine  purple  with  dark 
brown  centres  frosted  with  green.  A greenish  grey  froth  partially  obscures  the 
lavender  ground.  The  same  glaze  appears  outside,  but  with  large  areas  of  trans- 
parent green. 

Chiin  ware  of  the  Sung  dynasty. 

D.  8%  inches.  Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

229  Saucer  dish  of  pale  buff  stoneware  with  crackled  opalescent  glaze  ending  in 
an  uneven  line  beside  the  foot  rim.  The  colour  is  lavender  of  varying  depth 
faintly  shot  with  grey,  and  on  one  side  there  is  a large  greenish  splash  shading 
into  brown  at  the  edge. 

Chiin  type : Sung  dynasty. 

D.  dVs  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

230  Set  of  five  bowl-shaped  cups  with  small  feet  and  slightly  contracted  mouth 
rims.  Porcellanous  ware  burnt  reddish  brown  on  the  unglazed  base.  Smooth 
opalescent  glaze  thin  at  the  edge  and  of  pale  olive  tint  which  passes  into  grey- 
dappled  lavender  with  isolated  patches  and  large  areas  of  deep  purple  which  is  in 
one  case  slightly  frosted  with  greenish  brown. 

Probably  Kuan  ware : Sung  dynasty. 

H.  1%  inches.  D.  3%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

231  Pair  of  bowls  with  flattened  sides,  slightly  contracting  at  the  mouth,  and 
small  feet.  Porcellanous  ware  burnt  a buff  brown  in  the  exposed  parts.  Smooth, 
even,  opalescent  glaze  sparsely  crackled  and  of  a beautiful  lavender  blue  colour 
of  pale  misty  tone.  There  is  glaze  inside  the  base  rims  and  a bare  patch  inside 
the  bowls. 

Probably  Kuan  ware  of  the  Sung  dynasty. 

H.  2V2  inches.  D.  414  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

232  Bowl  of  conical  form  with  small  foot  and  contracted  mouth.  Grey  porcel- 
lanous ware  with  smooth  opalescent  glaze  ending  in  an  uneven  line  short  of  the 
base.  The  colour  inside  is  lavender  grey  with  pale  olive  tinges  on  the  rim  and  in 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

the  parts  where  the  glaze  has  run  thin,  small  patches  of  purple  and  rusty  brown, 
and  large  irregular  crackle.  On  the  outside  the  green  and  lavender  pass  at  once 
into  a deep  purple  which  suffuses  the  rest  of  the  surface. 

Chiin  or  Kuan  ware : Sung  dynasty. 

H.  3%  inches.  D.  5Y2  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

233  Bowl  of  conical  form  with  small  foot  and  slightly  contracted  mouth.  Porcel- 
lanous  ware  burnt  rusty  brown  in  the  unglazed  parts.  Smooth  finely  crackled 
glaze  of  pale  lavender  grey  clouded  with  smoky  brown  and  broken  by  purplish 
patches  which  have  the  bloom  of  a ripe  peach.  The  base  is  partially  glazed. 
Probably  Kuan  ware  of  the  Sung  dynasty. 

H.  3 inches.  D.  5%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

234  Bowl  of  conical  form  with  small  foot  and  slightly  contracted  mouth.  Porcel- 
lanous  ware  burnt  reddish  brown  at  the  base.  Thick  opalescent  glaze  heavily 
bubbled  on  the  upper  parts  and  irregularly  crackled,  the  colour  deep  lavender 
grey  with  light  brown  flecks  here  and  there  and  a flush  of  purple  on  the  upper  part 
of  the  exterior.  A patch  of  glaze  under  the  base. 

Chiin  or  Kuan  ware : Sung  period. 

H.  3%  inches.  D.  6 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

235  Bowl  of  conical  form  with  small  foot  and  slightly  contracted  mouth.  Buff 
stoneware  with  thick  opalescent  glaze  ending  in  an  irregular  welt  above  the  base. 
The  colour  of  the  glaze  is  pale  lavender  grey,  or  clair-de-lune,  flecked  with  brown 
in  places  and  broken  by  large  patches  of  purple  filled  in  with  grey  and  greenish 
brown. 

Chiin  type : Sung  or  Yiian  period. 

H.  3%  inches.  D.  6 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

236  Bowl  with  rounded  side  contracted  at  the  mouth.  Grey  porcellanous  ware 
burnt  reddish  brown  on  the  unglazed  base.  Boldly  crackled  opalescent  glaze  of 
milky  lavender  colour  with  a splash  of  purple  inside,  the  centre  of  which  shades 
off  into  a greenish  grey;  faintly  frosted  with  brown  outside. 

Chiin  or  Kuan  ware  of  the  Sung  dynasty. 

H.  2%  inches.  D.  6%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

237  Bowl  of  conical  form  with  small  foot  and  slightly  contracted  mouth.  Grey 
porcellanous  ware  burnt  brown  at  the  foot.  Opalescent  glaze  strongly  crackled 
and  stopping  at  the  foot  in  an  uneven  line.  The  colour  is  milky  lavender  shading 
into  pale  olive  at  the  edges  and  broken  by  two  splashes  of  amethystine  purple. 
Chiin  type : Sung  or  Yiian  period. 

H.  2%  inches.  D.  7 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

238  Bowl  of  conical  form  with  small  foot  and  contracted  mouth.  Iron-grey  stone- 
ware with  opalescent  glaze  sparsely  crackled  and  ending  short  of  the  base.  The 


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No.  237 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 


colour  is  moonlight  white  or  very  pale  lavender  faintly  frosted  with  brown  and 
broken  by  two  purple  patches  with  pale  centres. 

Chiin  type:  Yiian  dynasty. 

H.  3 inches.  D.  7%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

239  Powl  of  conical  form  with  small  foot  and  slightly  contracted  mouth.  Iron- 
grey  stoneware  with  thick  fluescent  glaze  which  runs  into  a deep  pool  inside  and 
ends  in  a billowy  roll  and  large  drops  short  of  the  base  outside.  The  colour 
changes  with  the  flow  of  the  glaze,  from  a thin  brownish  skin  at  the  edge  through 
a dark  crushed  strawberry  tint  to  peacock  blue  streaked  with  grey  and  brown. 
The  pool  inside  has  boiled  up  into  brownish  grey  scum  and  burst  in  large  bubbles 
like  lava. 

Chiin  type : Yiian  dynasty. 

H.  3 inches.  D.  7 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

240  Bowl  of  conical  form  with  small  foot  and  slightly  contracted  mouth.  Coarse 
reddish  stoneware  with  thick  opaque  crackled  glaze  which  ends  in  an  uneven  line 
short  of  the  base.  The  colour  is  a pale  smoky  grey  with  a faint  tinge  of  lavender, 
and  there  is  a splash  of  crimson  inside  frosted  over  with  green.  The  glaze  has 
shrunk  into  deep  corrugations  on  the  lower  part  of  the  exterior. 

Chiin  type : Yiian  dynasty. 

H.  3%  inches.  D.  7^/4  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

241  Bowl  of  conical  form  with  small  foot  and  contracted  mouth.  Grey  stone- 
ware burnt  red  at  the  base,  which  is  bare  of  glaze.  Thick  opalescent  glaze  freely 
crackled.  The  colour  inside  is  grey  tinged  with  purple  and  lavender,  with  a splash 
of  grey-flecked  purple  and  crimson  with  frosted  brown  centre,  and  a streak  of 
madder  brown.  Outside  it  is  rose  purple  flecked  with  grey,  passing  into  crimson 
at  the  mouth  and  into  lavender  grey  at  the  base. 

Chiin  ware : Sung  djmasty. 

H.  3^4  inches.  D.  7"%  inches.  Loaned  by  a collector. 

242  Bowl  of  conical  form  with  small  foot  and  slightly  contracted  mouth.  Iron- 
grey  stoneware  with  flowing  opalescent  glaze  w'hich  is  boldly  crackled  and  ends 
in  an  uneven  welt  just  short  of  the  base.  The  colour  is  purplish  lavender  shot 
with  milky  grey  which  dominates  the  purple  where  the  glaze  flows  thick.  Por- 
tions of  the  surface  are  thickly  flecked  with  brown  and  there  is  a purple  splash 
inside  with  a brown  centre. 

Chiin  type : Yiian  dynasty. 

H.  31/4  inches.  D.  7 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

243  Bowl  of  conical  form  with  small  foot  and  slightly  contracted  mouth.  Buff 
stoneware  with  thick  opalescent  glaze  which  is  irregularly  crackled  and  stops 
short  of  the  base.  The  colour  is  misty  lavender  grey  and  on  the  side  is  a purple 
splash  frosted  with  brownish  green. 

Chiin  type : Yiian  dynasty. 

H.  314  inches.  D.  7%  inches. 


Loaned  by  Mr.  Samuel  T.  Peters. 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

244  Bowl  of  conical  form  with  small  foot.  Reddish  huff  ware  with  opalescent 
glaze  ending  in  a fairly  even  welt  short  of  the  base.  The  colour  is  lavender  of 
varying  depth  frosted  with  brown  and  powdered  on  the  upper  part  with  hght 
greenish  specks:  a few  russet  brown  streaks  and  patches  on  the  exterior. 

Chiin  type : Yiian  dynasty. 

H.  3%  inches.  D.  8 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


245  Bowl  of  conical  form  with  small  foot  and  slightly  contracted  mouth.  Brick- 
red  stoneware  with  smooth  opalescent  glaze  ending  in  an  uneven  line  short  of  the 
base.  The  colour  is  very  subtle,  varying  from  grey  to  misty  lavender  with  bursts 
of  purple  inside  and  a few  spots  of  deep  purplish  brown. 

Chiin  type:  Yiian  dynasty. 

H.  3%  inches.  D.  8 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

246  Bowl  with  small  foot  and  slightly  contracted  mouth.  Greyish  white  porcel- 
lanous  w^are  with  smooth  opalescent  glaze  of  dove  grey  colour  faintly  tinged  with 
lavender.  Glaze  under  the  base. 

Chiin  or  Kuan  ware : Sung  dynasty. 

H.  3^  inches.  D.  8%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

247  Bowl  of  conical  form  with  small  foot  and  slightly  contracted  mouth.  Buff 
stoneware  with  thick  opalescent  glaze  lightly  crackled  and  stopping  short  of  the 
base.  The  colour  is  lavender  grey  clouded  with  brown  and  broken  by  a long 
narrow  splash  of  rose  purple  frosted  in  the  centre  with  green  and  brown.  The 
glaze  outside  is  waxen  in  surface  and  deeply  pitted. 

Chiin  type : Yiian  dynasty. 

H.  4%  inches.  D.  SYs  inches.  Loaned  by  a collector. 

248  Basin  with  small  foot  and  rounded  sides  slightly  contracting  at  the  mouth. 
Buff  stoneware  with  thick  opalescent  crackled  glaze  ending  in  a billowy  roll  just 
short  of  the  base.  The  colour  inside  is  turquoise  tinged  with  lavender  and  broken 
by  three  symmetrically  placed  splashes  of  purple  dappled  with  crimson  and  in 
one  case  shading  off  into  green.  Outside  it  passes  from  purple  streaked  with  grey 
into  lavender  with  a passage  of  turquoise  grey  and  dapplings  of  crimson. 

Chiin  t3q)e:  Sung  or  Yiian  period. 

H.  3%  inches.  D.  8%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

249  Bowl  of  globular  form,  slightly  contracted  at  the  mouth:  small  foot.  Grey 
porcellanous  ware  burnt  red  brown  at  the  foot  and  on  the  mouth  rim,  which  are 
both  bare.  Smooth  opalescent  glaze  of  exquisite  moon-white  colour  passing  into 
pale  lavender.  A patch  of  glaze  under  the  foot. 

Kuan  ware  of  the  Sung  dynasty. 

H.  4%  inches.  D.  6%  inches. 

1:723 


Loaned  by  Mr.  Samuel  T,  Peters. 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

250  Deep  bowl  of  globular  form  slightly  contracted  at  the  mouth;  small  foot. 
Grey  porcellanous  ware  with  beautiful  opalescent  glaze  of  pale  lavender  blue 
sown  with  faint  greenish  points  and  ending  in  a billowj'  roll  at  the  base.  Glaze 
under  the  foot  and  an  unglazed  patch  inside. 

Kuan  or  Chiin  ware:  Sung  dynasty. 

H.  6Vs  inches.  D.  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

251  Basin  with  small  foot,  rounded  sides,  and  contracted  mouth.  Reddish  buff 
stoneware  with  crackled  opalescent  glaze  flowing  in  waves  on  the  exterior  and 
ending  in  an  uneven  roll  short  of  the  base.  The  colour  inside  is  lavender  with 
purple  splashes,  one  of  which  has  a green-streaked  centre  and  russet  spots.  Out- 
side it  is  milky  lavender  lightly  clouded  with  a greenish  brown  frosting. 

Chiin  type : Sung  or  Yiian  period. 

H.  3%  inches.  D.  8%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

252  Bowl  of  conical  form  with  small  foot  and  slightly  contracted  mouth.  Grey 
porcellanous  ware  burnt  rusty  red  on  the  base  rim.  Smooth  opalescent  glaze 
faintly  crackled  and  of  pale  lavender  grey  colour.  Glaze  under  the  base. 

Chiin  or  Kuan  ware : Sung  dynasty. 

H.  41/4  inches.  D.  8%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

253  Basin  with  small  foot,  rounded  sides,  and  slightly  contracted  mouth.  Red- 
dish buff  stoneware  with  thick  opalescent  glaze,  faintly  crackled  and  ending  in 
a fairly  even  line  short  of  the  base.  The  colour  inside  is  opal  blue  passing  into 
lavender  grey  and  heavily  bubbled  where  it  has  flowed  thick  in  the  bottom  of  the 
bowl : it  is  broken  by  three  splashes  on  the  sides  and  one  in  the  centre,  of  purple 
with  passages  of  crimson,  frosted  with  green  and  russet  brown  in  the  centres. 
Outside  it  changes  from  crimson  to  purple  shot  with  grey,  dappled  and  frosted 
with  green.  An  exquisite  specimen  with  wonderful  play  of  colour. 

Chiin  type:  Sung  or  Yiian  period. 

H.  4 inches.  D.  914  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

254  Large  bowl  with  small  foot  and  rounded  sides  slightly  contracting  at  the 
mouth.  Pale  buff  porcellanous  ware  vsdth  thick  opalescent  glaze  faintly  crackled 
and  ending  in  drops  and  waves  around  the  base.  The  colour  is  an  exquisite  milky 
grey,  lightly  streaked  and  mottled  with  violet.  Here  and  there  an  olive  tint  ap- 
pears where  the  glaze  is  thin,  and  elsewhere  the  violet  changes  to  purple.  Inside  is 
a pool  of  solid  ivory-white  faintly  stained  with  green.  A patch  of  milky  lavender 
glaze  under  the  base. 

Chiin  type ; Sung  dynasty. 

H.  4%  inches.  D.  9%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

255  Incense-burner  with  depressed  globular  body,  straight  neck,  and  flanged 
mouth : three  small  feet.  Grey  porcellanous  ware  with  misty  lavender  grey  glaze 
passing  into  purple  flecked  with  russet  and  green  spots.  Metal  mount  and  cover, 
the  latter  with  pierced  floral  design,  made  in  Japan. 

Kuan  or  Chiin  ware : Sung  dynasty. 

H.  2%  inches.  D.  2%  inches. 

C73;] 


Loaned  by  Mr.  Samuel  T.  Peters. 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

256  Incense-burner  with  globular  bowl  and  low,  cylindrical  neck  flanged  at  the 
month : three  small  feet.  Grey  porcellanous  ware  with  smooth  opalescent,  lightly 
crackled  glaze  of  misty  lavender  grey  colour.  An  unglazed  patch  inside. 

Chiin  or  Kuan  ware  of  the  Sung  dynasty. 

H.  3%  inches.  D.  4^^  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

257  Incense-burner  with  globular  body,  straight  neck,  and  flanged  mouth.  Grey 
porcellanous  ware  with  faintly  crackled  opalescent  glaze  of  pale  lavender  blue 
with  splashes  of  purple  which  shade  off  into  crimson  and  violet.  Unglazed  inside 
the  bowl. 

Kuan  or  Chun  ware : Sung  dynasty. 

H.  8%  inches.  D.  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

258  Incense-burner  with  globular  body,  cylindrical  neck  with  flanged  mouth,  two 
upright  rectangular  handles  with  dragon  attachments,  and  three  small  feet.  On 
the  shoulders  are  two  rosettes  in  applied  relief.  Grey  porcellanous  ware  with 
opalescent  glaze.  The  colour  is  pale  olive  brown  where  the  glaze  has  run  thin, 
and  passes  into  milky  lavender  grey  with  areas  of  plum-coloured  purple  and 
brown. 

Chiin  ware  of  the  Sung  dynasty. 

H.,  with  handles,  3%  inches,  D.,  with  handles,  4 inches. 

Loaned  by  Mr.  C.  L.  Freer. 

259  Incense-burner  with  globular  body,  straight  neck  and  flanged  mouth,  two 
dragon  handles,  and  three  small  feet.  Grey  porcellanous  ware  with  opalescent 
and  faintly  crackled  glaze  passing  from  grey  to  lavender  and  splashed  with  large 
patches  of  purple.  An  unglazed  patch  inside. 

Kuan  or  Chiin  ware : Sung  dynasty. 

H.  3%  inches.  D.,  with  handles,  5%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

260  Vase  with  globular  body,  short  neck  with  spreading  lip,  and  two  loop-han- 
dles. Buff  stoneware  with  thick  opalescent  glaze  strongly  crackled  and  ending  in 
a fairly  regular  welt  short  of  the  base.  The  colour  is  pale  lavender  blue  flushing 
with  purple  on  the  sides  and  broken  by  large  rose-purple  splashes,  with  crimson 
flecked  with  grey  in  their  centres.  The  shoulders  are  lightly  frosted  with  brown, 
and  the  underlying  purple  emerges  in  the  lines  of  the  crackle  and  in  the  bubbles 
of  the  glaze. 

Chiin  type : Sung  or  Yiian  period. 

H.  5 inches.  D.  5%  inches.  Loaned  by  a collector. 

261  Jar  of  oval  form  with  contracted  neck  and  wide  mouth  with  thick  rounded 
lip.  Coarse  grey  stoneware  full  of  quartzlike  particles,  with  a thick  opalescent 
lavender  grey  crackled  glaze  spotted  with  purple  and  madder-brown  and  broken 


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No.  264 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

by  two  splashes  of  blood-crimson,  changing  into  deep  crab-shell  green,  and  frosted 
on  the  shoulders  with  brownish  grey.  The  base  and  part  of  the  interior  are 
unglazed. 

Chiin  type : Sung  or  Yuan  period. 

H.  4%  inches  . D.  5^2  inches.  Loaned  by  a collector. 


262  Vase  with  broad  ovoid  body,  short  neck,  and  wide  mouth.  Coarse  reddish 
stoneware  with  crackled  opalescent  glaze  ending  in  an  uneven  line  short  of  the 
base.  The  colour  is  greyish  lavender  of  varying  depth,  lightly  frosted  in  parts 
with  brown  and  broken  on  the  shoulder  by  three  large  splashes  of  purple  with 
crimson  centres. 

Chiin  type:  Yiian  dynasty. 

H.  61/4  inches.  D.  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

263  Vase  with  broad  pear-shaped  body,  high  shoulders,  and  small  straight  neck. 
Reddish  buff  porcellanous  stoneware  with  thick  opalescent  glaze  widely  crackled 
and  ending  in  a ragged  line  and  big  drops  about  three  inches  short  of  the  foot: 
below  this  is  a thin  skin  of  translucent  glaze  of  olive  green  colour  clouded  with 
lavender  grey  at  the  bottom.  The  main  glaze  is  covered  with  a skin  of  green  frost- 
ing which  has  parted  in  a netting  of  “earth-worm”  marks  and  spots  revealing  a 
grey  colour  beneath,  with  tinges  of  purple  which  emerge  in  a warm  flush  on 
one  side. 

Chiin  type:  Sung  or  Yiian  period. 

H.  10  inches.  D.  7^/4  inches.  Loaned  by  a collector. 

264  Vase  of  globular  form,  the  exterior  moulded  like  a lotus  flower  with  raised 
petals.  Dark  grey  stoneware  burnt  reddish  brown  on  the  base  and  the  inside, 
which  are  both  unglazed.  Closely  crackled,  milky  grey  glaze  which  is  darkened 
on  the  salient  parts  by  the  body-colour  beneath  it.  The  base  shows  the  impression 
of  a circular  support. 

Sung  dynasty. 

H.  7 inches.  D.  9%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

265  Incense  vase  with  three  feet,  globular  body,  short  straight  neck  with  flanged 
mouth,  and  two  upright  rectangular  handles  with  attachments  of  dragon  form. 
Dark  grey  stoneware  burnt  brown  in  the  unglazed  parts,  with  thick  flowing  glaze, 
faintly  crackled,  which  ends  in  a billowy  line  without  entirely  covering  the  base 
and  the  feet.  Applied  relief  ornaments  overrun  by  the  glaze,  but  apparently  con- 
sisting of  two  tiger-masks  on  the  sides  and  four  rosettes  on  the  neck.  The  glaze  is 
opalescent  and  of  pale  lavender  or  clair-de-lune  colour  shot  with  greyish  white 
and  flushing  in  parts  with  a warm  purplish  tinge. 

Chiin  type : Sung  or  Yiian  period. 

H.  SV2  inches.  D.  7%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


[75] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

266  Jar  with  broad  ovoid  body,  short  neck,  and  wide  mouth.  Dense  reddish 
stoneware  with  lightly  crackled  opalescent  glaze  of  pale  misty  lavender  colour 
assuming  an  olive  tint  where  the  glaze  is  thin:  faint  “earth-worm”  markings  here 
and  there,  and  three  symmetrically  disposed  patches  on  the  shoulder  of  purple 
colour  with  frosted  green  centres.  Glaze  under  the  base. 

Chiln  or  Kuan  type : Sung  dynasty. 

H.  10%  inches.  D.  13  inches.  I.oaned  by  Mr.  Samuel  T.  Peters. 

267  Bowl  of  conical  form  with  small  foot  and  slightly  contracted  mouth.  Grey 
stoneware  burnt  buff  brown  on  the  unglazed  foot.  Thick  opalescent  glaze  of  lav- 
ender shot  with  grey  and  faintly  flecked  with  brown,  crackled  irregularly  and 
ending  in  a thick  welt  short  of  the  base.  Inside  is  a long  splash  of  faint  brownish 
purple  shading  off  into  greenish  grey. 

Chiin  type:  Yiian  dynasty. 

H.  3%  inches.  D.  7%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

IMPERIAL  WARE  OF  THE  CHUN  KILN 

268  Bulb  bowl  with  sides  moulded  in  twelve  petals,  flanged  mouth  with  rolled 
six-foil  edge,  and  three  cloud-scroll  feet.  Grey  porcellanous  ware  with  opalescent 
glaze  and  faint  “earth-worm”  markings.  The  colour  inside  changes  from  olive 
on  the  salient  parts  to  purplish  lavender  and  dappled  purple  frosted  with  opaque 
green.  Outside  it  is  thickly  curded  with  greenish  grey  in  places,  and  warms  into 
mottled  crimson  on  the  rounded  parts.  The  base  is  washed  with  olive  brown  and 
incised  with  the  numeral  chin,  n_  (nine),  and  it  has  a ring  of  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  2%  inches.  D.  7%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

269  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet;  the  exterior  is  bor- 
dered by  two  rows  of  round  studs,  the  upper  row  enclosed  by  raised  bands.  Grey- 
ish white  porcellanous  ware  with  thick  opalescent  glaze  lightly  crackled  and 
parted  with  “earth-worm”  markings.  The  colour  inside  is  light  olive  passing 
through  dappled  lavender  and  greenish  grey  into  dull  purple  flecked  with  grey. 
Outside  it  is  deep  purplish  brown  shot  with  lavender  grey  and  heavily  mottled 
with  crimson.  The  salient  parts  are  light  olive,  and  the  rim  is  an  intense  purplish 
brown  curded  with  bluish  grey.  The  base  is  washed  with  olive  brown  and  incised 
with  the  numeral  ch'i,  ^ (seven),  and  it  has  a ring  of  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  2%  inches.  D.  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

270  Bulb  bowl  or  flower-pot  stand  of  bronze  form  with  three  cloud-scroll  feet: 
the  exterior  is  bordered  by  two  rows  of  round  studs,  the  upper  row  enclosed  by 
raised  bands.  Greyish  white  porcellanous  ware  with  opalescent  glaze  parted  here 
and  there  with  “earth-worm”  markings.  The  colour  inside  is  dull  lavender  blue 

IT76D 


No.  266 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

dappled  and  frosted  with  greenish  grey.  On  the  outside  it  passes  from  opaque 
greenish  grey  to  deep  rose-purple  curded  with  grey.  The  salient  parts  are  light 
olive.  The  hase  is  washed  with  olive  hrown  and  incised  with  the  numeral  chin,  n_ 
(nine),  and  it  has  a ring  of  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  2V2  inches.  D.  6%e  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

271  Flower-pot  stand  in  form  and  make  similar  to  No.  272.  Inside,  the  glaze  is 
of  lavender  tint  more  or  less  obscured  by  a grey-white  froth.  On  the  rim  and 
exterior  it  passes  into  purple  dappled  and  clouded  with  greyish  white  and  devel- 
oping passages  of  crimson  on  the  feet.  The  base  is  washed  with  olive  brown  and 
incised  with  the  numeral  shih,  4-  (ten),  and  it  has  a ring  of  spur-marks. 

Chun  ware  of  the  Sung  dynasty. 

H.  2 inches.  L.  7Ys  inches.  B.  5%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

272  Flower-pot  stand  of  oblong  rectangular  form  with  notched  corners,  straight 
sides,  flanged  rim,  and  four  small  cloud-scroll  feet.  Greyish  white  porcellanous 
ware  with  opalescent  glaze  irregularly  crackled  and  parted  with  “earth-worm” 
markings.  The  colour  is  a misty  lavender  grey  with  passages  of  milky  white, 
passing  into  pale  olive  where  the  glaze  has  run  thin.  The  base  is  washed  with 
olive  brown  and  incised  with  the  numeral  shih,  + (ten),  and  it  has  a ring  of  spur- 
marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  2 inches.  L.  7 inches.  B.  5%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

273  Bulb  bowl  of  bronze  shape  with  three  cloud-scroll  feet:  bordered  on  the 
exterior  with  two  rows  of  studs,  the  upper  row  enclosed  by  raised  bands.  Grey 
porcellanous  ware  with  opalescent  glaze  which  flows  away  from  the  salient  parts, 
leaving  them  a pale  olive  colour.  Inside  the  glaze  is  purplish  lavender  flecked 
and  clouded  with  greyish  white  and  parted  here  and  there  with  “earth-worm” 
markings.  On  the  outside  it  changes  from  grey  to  dappled  purple,  developing  a 
deep  crimson  on  the  lower  part  of  the  feet.  The  base  is  washed  with  dull  brown 
and  incised  with  the  numeral  pa,  /v  (eight),  and  it  has  a ring  of  spur-marks. 
Chiin  ware  of  the  Sung  dynasty. 

H.  2i%6  inches.  D.  6%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

274  Bulb  bowl,  or  flower-pot  stand,  of  oblong  quatrefoil  shape  with  straight  sides 
and  flanged  mouth  with  rolled  edge:  four  cloud-scroll  feet.  Greyish  white  porcel- 
lanous ware  with  opalescent  glaze  crackled  in  places  and  parted  with  “earth- 
worm” markings.  The  colour  inside  is  deep  purplish  lavender  shot  with  grey  and 
shading  off  into  olive:  on  the  rim  it  develops  a deep  crimson  brown  near  the 
edges.  Outside  it  is  crimson  brown  lightly  clouded  with  grey  and  purplish  laven- 
der. The  base  is  washed  with  olive  brown  and  incised  with  the  numeral  erh,  ^ 
(two),  and  it  has  a ring  of  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  2%  inches.  L.  8%  inches.  B.  7 inches.  Loaned  by  Mr.  R.  E.  Moore. 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

275  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  the  exterior  is  bor- 
dered by  two  rows  of  round  studs,  the  upper  row  enclosed  by  raised  bands.  Grey 
porcellanous  ware  with  smooth  opalescent  glaze  parted  with  “earth-worm”  mark- 
ings. The  colour  is  misty  lavender  grey  with  flushes  of  purple.  The  base  is 
washed  with  olive  brown  and  incised  with  the  numeral  ssu,  an  (four),  and  it  has  a 
ring  of  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  3 inches.  D.  8%  inches.  ' 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

276  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  the  exterior  is  bor- 
dered by  two  rows  of  studs,  the  upper  row  enclosed  by  raised  bands.  Greyish 
white  porcellanous  ware  with  opalescent  glaze  faintly  crackled.  The  salient 
points  where  the  glaze  is  thin  are  pale  olive.  Inside  the  colour  is  lavender  blue 
mottled  and  clouded  with  opaque  greyish  and  greenish  white  broken  by  “earth- 
worm” marks.  On  the  exterior  the  glaze  is  faintly  iridescent  and  has  a beautiful 
silken  sheen,  and  the  colour  is  rose-purple  finely  flecked  and  shot  with  greyish 
white.  On  the  feet  it  develops  a deep  crimson.  The  base  is  washed  with  olive 
brown  and  incised  with  the  numeral  ssu,  aa  (four),  and  it  has  a ring  of  spur- 
marks. 

Chun  ware  of  the  Sung  dynasty. 

H.  3%  inches.  D.  8%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

277  Bulb  bowl,  or  flower-pot  stand,  with  sides  moulded  in  six  petal-shaped  lobes : 
flanged  rim  of  wavy  six-foil  form  rolled  at  the  edge.  Grey  porcellanous  ware 
with  opalescent  glaze  parted  with  “earth-worm”  markings.  The  colour  incised  is 
dull  olive  frosted  over  with  opaque  grey  green,  the  “earth-worm”  marks  and  a 
number  of  small  spots  disclosing  a beautiful  sky  blue  which  lies  below.  The  out- 
side is  dappled  crimson  flecked  with  a thin  green  frosting  and  breaking  at  the 
edges  into  greenish  grey  and  lavender.  The  feet  are  olive  green  passing  into  crim- 
son. Dull  green  glaze  under  the  base,  with  the  numeral  erh,  s-  (two),  incised,  and 
a ring  of  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  3Vfe  inches.  D.  9%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


278  Bulb  bowl,  or  flower-pot  stand,  moulded  in  six  shaped  lobes  and  flanged  at 
the  mouth  with  a six-foil  rim:  three  cloud-scroll  feet.  Grey  porcellanous  ware 
with  opalescent  glaze  which  flows  away  from  the  salient  parts,  leaving  them  a 
pale  olive  colour.  The  inside  is  a purplish  lavender  dappled  with  grejash  white 
and  broken  by  a few  “earth-worm”  markings.  The  colour  outside  is  broken  by 
the  rounded  contours  of  the  moulding  and  changes  repeatedly  from  pale  olive 
through  dappled  lavender  to  deep  crimson.  The  base  is  washed  with  olive  brown 
and  incised  with  the  numeral  erh,  is-  (two),  and  it  has  a ring  of  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  3 inches.  D.  9%  inches. 


178'2 


Loaned  by  Mr.  Samuel  T.  Peters. 


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No.  269  No.  268 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

279  Bulb  bowl  with  sides  moulded  in  five  petal-shaped  lobes,  flanged  rim  of  five- 
foil  form  with  rolled  edge,  and  three  cloud-scroll  feet.  Grey  porcellanous  ware 
with  thick  opalescent  glaze,  with  a cluster  of  “earth-worm”  markings  in  the  centre 
of  the  interior.  The  colour  passes  from  light  olive  at  the  edges  to  plum-coloured 
purple  dappled  and  curded  with  greenish  grey.  The  same  colours  appear  on  the 
outside,  but  the  red  tints  are  stronger  and  the  grey,  which  runs  down  in  milky 
waves,  is  deeply  tinged  with  purple,  and  here  and  there  the  colour  deepens  into 
brownish  crimson.  The  base  is  washed  with  olive  brown  and  incised  with  the 
numeral  liu,  (six),  and  it  has  a ring  of  small  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  2%  inches.  D.  8%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


280  Bulb  bowl  with  moulded  five-foil  sides,  flanged  mouth  with  rolled  edge,  and 
three  cloud-scroll  feet.  Grey  porcellanous  ware  with  opalescent  glaze  parted  in 
“earth-worm”  markings,  many  of  which  are  Y-shaped.  The  colour  inside  passes 
from  olive  on  the  salient  parts  to  purple  dappled  and  curded  with  gray,  and  it  is 
frosted  on  the  rim  with  crab-shell  green.  Outside  it  varies  from  rose-purple  finely 
flecked  with  grey  and  shimmering  with  a silken  iridescence  to  heavily  bubbled 
purple  deepening  into  crimson  and  curded  with  greenish  grey.  The  base  is  coated 
with  olive  brown  and  incised  with  the  numeral  ch"i,  t (seven),  and  it  has  a ring  of 
spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  2l^  inches.  D.  8^  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

281  Bulb  bowl  with  moulded  five-foil  sides,  flanged  mouth  with  rolled  edges,  and 
three  cloud-scroll  feet.  Grey  porcellanous  ware  with  thick  crackled  opalescent 
glaze  having  great  play  of  colour.  Inside  it  is  translucent  olive  green  clouded  and 
mottled_with  grey  and  purple  and  passing  into  crimson  on  the  rim,  which  is  frosted 
with  crab-shell  green  on  the  edges.  Outside  it  is  mostly  rose-purple  dappled  with 
lavender  and  grey  and  deepening  into  crimson  and  purplish  brown.  There  is  a 
light  frosting  in  places.  The  base  is  washed  with  olive  brown  and  incised  with  the 
numeral  liu,  (six),  and  it  has  a ring  of  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H,  2%  inches.  D.  8%  inches. 

Loaned  by  Smithsonian  Institution,  (Freer  Collection.) 

282  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  the  exterior  is  bor- 
dered by  two  rows  of  round  studs,  the  upper  row  enclosed  by  raised  bands.  Grey 
porcellanous  ware  with  thick  opalescent  glaze  which  is  pitted  on  the  sides  with 
bubble  holes.  The  colour  inside  is  rose-purple  mottled,  streaked,  and  clouded 
with  grey  and  lightly  frosted  in  parts  with  green.  Outside  the  same  colour  warms 
into  crimson,  and  the  salient  parts  are  light  olive.  The  base  is  washed  with  olive 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

brown,  the  numeral  wa,  (five),  is  incised  under  one  foot  and  pricked  through 
the  glaze  of  the  base,  and  there  is  a ring  of  spur-marks.  Two  inscriptions  are  cut 
in  the  base:  (1)  Yung  an  ssu  (“Temple  of  Eternal  Peace”) ; (2)  Tao  ning  chai  gang 
(“For  use  in  the  Pavilion  of  the  Way  of  Quietude”). 

Chun  ware  of  the  Sung  dynasty. 

H.  3V2  inches.  D.  8%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

283  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  the  exterior  is  bor- 
dered by  two  rows  of  round  studs,  the  upper  row  enclosed  by  raised  bands.  Grey 
porcellanous  ware  with  thick  opalescent  glaze  netted  with  “earth-worm”  markings 
inside  the  bowl.  The  colour  is  opaque  greenish  grey  faintly  tinged  with  purple : 
light  olive  on  the  salient  parts.  The  base  is  olive  brown  clouded  with  grey.  The 
numeral  san,  (three),  is  incised  on  one  of  the  feet  and  pricked  through  the  glaze 
of  the  base,  and  there  is  a ring  of  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  4 inches.  D.  9%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

284  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  the  exterior  is  bor- 
dered by  two  rows  of  round  studs,  the  upper  row  enclosed  by  raised  bands.  Grey 
porcellanous  ware  with  opalescent  glaze  broken  by  “earth-worm”  markings.  The 
colour  inside  is  purplish  lavender  curded  with  grey.  Outside  it  is  rose  purple 
curded  and  flecked  with  grey  and  tinged  here  and  there  with  crimson.  The  salient 
parts  are  light  olive.  The  base  is  washed  with  olive  brown  and  incised  with  the 
numeral  san,  s-  (three),  and  it  has  a ring  of  small  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  3Y2  inches.  D.  8%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


285  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  the  exterior  is  bor- 
dered by  two  rows  of  studs,  the  upper  row  enclosed  by  raised  bands.  Greyish 
white  porcellanous  ware  with  opalescent  glaze  irregularly  crackled.  An  olive  tint 
appears  on  the  salient  parts  where  the  glaze  is  thin,  but  over  the  rest  of  the  surface 
the  colour  is  a misty  lavender  grey,  more  opaque  and  grey  inside,  but  slightly 
suffused  with  purple  on  the  exterior.  The  base  is  washed  with  olive  brown  and 
incised  with  the  numeral  san,  s.  (three),  and  it  has  a ring  of  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  3%e  inches.  D.  9 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

286  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  the  exterior  is  bor- 
dered with  two  rows  of  round  studs,  the  upper  row  enclosed  by  raised  bands. 
Grey  porcellanous  stoneware  with  opalescent  glaze  parted  inside  with  “earth- 
worm” markings.  The  colour  inside  is  lavender  grey  shot  with  purple  and  frosted 


No.  296 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

with  greenish  grey  in  the  centre.  The  same  colour  outside  is  strongly  tinged  with 
purple,  and  the  glaze,  which  is  thickly  bubbled,  flows  away  from  the  studs  in  milky 
waves.  The  salient  parts  are  pale  olive.  The  base  is  washed  with  olive  brown  and 
incised  with  the  numeral  erh,  — (two),  and  it  has  a ring  of  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  3^/4  inches.  D.  8%  inches.  Loaned  by  Mrs.  J.  A.  Logan. 

287  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  the  exterior  isl)or- 
dered  by  two  rows  of  studs,  the  upper  row  enclosed  by  raised  bands.  Greyish 
white  porcellanous  ware  with  opalescent  glaze  faintly  crackled.  The  salient  parts, 
where  the  glaze  is  thin,  are  pale  olive.  Inside  the  colour  changes  from  a pale 
lavender  blue  flecked  with  white  to  a greenish  white  with  “earth-worm”  marks 
and  dappling  of  pale  lavender.  On  the  outside  it  passes  from  greenish  grey  to 
purple  mottled  and  is  flecked  with  greyish  white  and  scored  with  “earth-worm” 
marks  of  many  forms.  On  the  feet  it  passes  from  pale  olive  to  deep  crimson 
flecked  with  coral  red.  The  base  is  washed  wdth  olive  brown  and  incised  with  the 
numeral  i,  ^ (one),  and  it  has  a ring  of  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  3V2  inches.  D.  9Y2  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

288  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet.  The  exterior  is  bor- 
dered outside  by  two  rows  of  studs,  the  upper  row  enclosed  by  raised  bands. 
Greyish  white  porcellanous  ware  with  opaque  milky  grey  glaze  finely  crackled 
and  broken  here  and  there  by  bubbles  and  small  partings.  .On  the  salient  parts 
and  in  passages  where  the  glaze  is  thin  the  colour  shades  off  into  a pale  brownish 
tone.  The  base  is  washed  with  olive  brown,  over  which  the  grey  has  run  in  places : 
it  has  a ring  of  spur-marks,  and  the  numeral  san,  3.  (three),  is  incised  on  one  of 
the  feet.  The  same  numeral  appears  to  have  been  cut  at  one  time  through  the 
glaze  of  the  base,  but  subsequently  obliterated. 

Chiin  ware  of  the  Sung  dynasty. 

H.  3%  inches.  D.  9V^  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

289  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  bordered  on  the  ex- 
terior with  two  rows  of  studs,  the  upper  row  enclosed  by  raised  bands.  Greyish 
white  porcellanous  ware  with  finely  mottled  opalescent  glaze  of  misty  grey  colour 
clouded  with  lavender  and  pale  olive  green : the  latter  colour  appears  where  the 
glaze  has  run  thin  on  the  salient  parts.  The  base  is  washed  with  olive  brown  and 
incised  with  the  numeral  i,  (one),  and  it  has  a ring  of  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  3%  inches.  D.  IOV2  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

290  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  the  exterior  is  bor- 
dered by  two  rows  of  studs,  the  upper  row  enclosed  by  raised  bands.  Grey  porcel- 
lanous ware:  opalescent  glaze  with  mingled  tints  of  transparent  olive,  grey,  blue, 

Csi] 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

and  crimson,  streaked  and  dappled,  broken  by  “earth-worm”  markings,  and 
faintly  crackled.  The  glaze  inside  is  chiefly  lavender  mottled  and  streaked  with 
bluish  and  greenish  grey.  On  the  outside  there  is  greater  play  of  colour,  with 
flushes  of  crimson  and  wide  areas  of  olive,  faintly  frosted  with  iridescent  bubbles. 
The  base  is  washed  with  olive  brown,  incised  with  the  numeral  i,  --  (one),  and  it 
has  a ring  of  spur-marks. 

Chiin  ware  of  the  Sung  dynasty. 

H.  3%  inches.  D.  10%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


291  Bowl  of  a flower  pot:  globular  in  form  with  low  spreading  base.  Grey  por- 
cellanous  ware  with  thick  opalescent  glaze  crackled  inside  and  parted  with  long 
“earth-worm”  markings  outside.  The  colour  inside  is  clair-de-lune  grey  flecked 
and  clouded  with  purple.  Outside  it  is  rich  rose-purple  dappled  with  crimson. 
The  base  is  washed  with  olive  brown,  incised  with  the  numeral  chin,  n.  (nine), 
and  pierced  with  five  holes  which  have  been  plugged. 

Chun  ware  of  the  Sung  dynasty. 

H.  3%  inches.  D.  6%  inches.  D.  of  base,  3^%e  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

292  Incense-burner  with  barrel-shaped  body  and  spreading  foot:  the  sides  but- 
tressed by  four  vertical  ribs  copied  from  a bronze.  Grey  porcellanous  ware  with 
opalescent  glaze  and  a few  “earth-worm”  marks.  The  colour,  olive  in  the  salient 
parts,  passes  into  deep  crimson  brown  thickly  dappled  with  lavender  grey  shot 
with  purple.  Inside  the  lavender  grey  predominates,  but  it  is  clouded  with  olive 
and  frosted  here  and  there  with  crab-shell  green.  Metal  band  inside  the  mouth, 
and  gold  band  on  the  foot,  which  is  washed  underneath  with  olive  brown. 

This  rare  piece  was  originally  a beaker-shaped  vase,  but  the  neck  has  been  broken 
and  cut  down. 

Chiin  ware  of  the  Sung  dynasty. 

H.  4 inches.  D.  5%  inches.  Loaned  by  Mr.  S.  Yamanaka. 


293  Pair  of  flower  pots  with  stands.  The  pots  are  of  oblong  rectangular  form 
with  straight  sides  gently  expanding  toward  the  mouth,  which  has  a flanged  rim 
with  moulded  edge:  they  rest  on  four  small  feet  and  are  pierced  in  the  bottom 
with  five  holes.  The  stands  are  of  similar  form  with  notched  corners  on  the  rim 
and  cloud-scroll  feet.  Greyish  white  porcellanous  ware  with  opalescent  glaze 
and  “earth-worm”  markings.  The  colour  inside  the  pots  varies  from  olive  and 
crimson  brown  at  the  edges  to  grey-flecked  purple  clouded  with  crab-shell  green 
frosting.  Outside  it  is  a rich  plum  purple  flecked  with  lavender  grey,  clouded  with 
crimson  red  and  olive  green,  and  frosted  here  and  there  with  greenish  brown. 

One  stand  is  lavender  purple  dappled  and  curled  with  grey,  the  edges  and  salient 
parts  being  olive  brown.  The  other  stand  is  milky  grey  tinged  with  lavender  and 
frosted  with  crab-shell  green  of  varying  strength : the  salient  parts  are  olive  pass- 

[82] 


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No.  299 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

ing  into  purple.  The  bases  are  washed  with  olive  green  and  incised  with  the 
numeral  shih,  + (ten),  and  there  are  rings  of  spur-marks, 

Chiin  ware  of  the  Sung  dynasty. 

H.  5^Yig  inches.  L.  8 inches.  B.  6%  inches.  (Pots.) 

H.  2 inches,  L.  7%  inches.  B.  5%  inches.  (Saucers.) 

Loaned  by  Mr.  S.  Yamanaka. 

294  Bulb  bowl  of  oblong  quatrefoil  form,  with  flat  flange  at  the  mouth  moulded 
at  the  edge:  four  small  cloud-scroll  feet.  Greyish  white  porcellanous  ware  with 
opalescent  glaze  of  uneven  flow  and  faintly  crackled.  The  colour  is  pale  olive 
clouded  with  opaque  grey.  Similar  glaze  under  the  base,  but  of  a stronger  brown 
tone,  incised  with  the  numeral  i,  (one) : a ring  of  large  spur-marks. 

Chiin  ware  of  the  Sung  d3masty. 

H.  4V2  inches.  L.  10  inches,  B.  8 inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

295  Flower  pot  of  oblong  hexagonal  form  with  straight  sides  gently  tapering 
toward  the  base,  which  is  supported  by  six  small  cloud-scroll  feet:  narrow  flat 
flange  at  the  mouth.  Greyish  white  porcellanous  ware  with  finely  striated  opales- 
cent glaze  of  pale  purplish  colour,  heavily  streaked  with  opaque  milky  grey  on 
the  upright  surfaces  and  dappled  with  the  same  colour  on  the  flat  parts.  “Earth- 
worm” markings  on  the  bottom  inside,  and  seven  holes  in  the  base.  The  salient 
parts,  where  the  glaze  is  thin,  are  of  a pale  olive  colour.  The  base  has  brown  glaze 
overrun  with  lavender  and  grey,  and  a ring  of  spur-marks;  and  the  numeral  ssu, 
an  (four),  is  incised  inside  one  of  the  feet. 

Chiin  ware  of  the  Sung  dynasty. 

H.  6 inches.  L.  10%  inches.  B.  6%  inches.  Loaned  by  Mr.  Samuel  T.  Peters, 

296  Flower  pot  of  deep  bowl  form  moulded  in  six  shaped  lobes  and  flanged  at 
the  mouth  with  a six-foil  rim.  Greyish  white  porcellanous  ware  with  opalescent 
grey  glaze  shot  with  faint  violet  and  shading  off  into  pale  olive  at  the  edges  of  the 
mouldings.  The  base  is  washed  with  olive  brown  and  incised  with  the  numeral 
wu,  (five) . 

Chiin  ware  of  the  Sung  dynasty. 

H.  6%  inches.  D.  9%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

297  Flower  pot  of  globular  form  with  short  neck  fitted  with  a silver  band,  and 
low  foot  slightly  spreading.  Greyish  white  porcellanous  ware  with  opalescent 
glaze.  The  colour  inside  is  lavender  shot  with  grey  and  frosted  with  crab-shell 
green.  Outside  it  is  finely  dappled  rose-purple  deepening  in  places  to  crimson  and 
lightly  frosted  with  green,  which  forms  a thick  opaque  skin  at  the  neck  and  on 
the  foot.  The  base  is  washed  with  olive  brown  glaze,  incised  with  the  numeral 
san,  5.  (three),  and  pierced  with  five  holes. 

Chiin  ware  of  the  Sung  dynasty. 

H.  6 inches.  D.  9 inches.  Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

298  Flower  pot  with  globular  body,  short  neck,  and  low  spreading  foot:  five 
holes  in  the  bottom.  Greyish  white  porcellanous  ware,  burnt  rusty  red  on  the 
unglazed  edge.  Opalescent  glaze  of  singular  beauty  with  minute  crackle,  and  a 
belt  of  “earth-worm”  marks  on  the  neck.  The  colour  changes  from  pure  blue 
opal  inside  the  neck  through  warm  grey  to  purplish  lavender  shot  with  greyish 
white  in  the  interior.  On  the  outside  the  grey-flecked  lavender  warms  into  rose- 
purple  with  a silken  iridescent  bloom  on  one  side;  and  on  the  other  side  it  is 
strongly  dappled  with  crimson  brown  specks  which  concentrate  in  a deep 
brownish  crimson  patch.  The  base  is  washed  with  olive  brown  and  incised  with 
the  numeral  er/j,  (two). 

Chiin  ware  of  the  Sung  dynasty. 

H.  6%  inches.  D.  10  inches.  D.  of  base,  5%  inches. 

Loaned  by  Mr.  Samuel  T.  Peters. 

299  Flower  pot  with  globular  bowl,  high  neck,  flaring  mouth,  and  low  foot 
slightly  spreading.  Grey  porcellanous  ware  with  smooth  opalescent  glaze  freely 
crackled  and  parted  here  and  there  with  “earth-worm”  markings.  The  colour  is 
lavender  finely  flecked  with  grey  and  deepening  into  purple  on  the  bowl : the  edges 
are  olive.  The  base  is  washed  with  olive  brown,  incised  with  the  numeral  i, 
(one),  and  pierced  with  five  holes. 

Chiin  ware  of  the  Sung  dynasty. 

H.  lOVs  inches.  D.  10%  inches.  D.  of  base,  6%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


300  Wine  jar  with  broad  ovoid  body,  short  straight  neck,  and  wide  mouth.  Grey 
porcellanous  ware  with  a thin  opalescent  glaze  finely  crackled.  Inside  the  colour 
is  lavender  shot  with  milky  grey.  The  same  colour  on  the  exterior  shades  off  into 
brown  and  olive  where  the  glaze  has  run  thin,  and  into  milky  grey  where  it  has 
collected  thickly.  The  base  is  washed  with  olive  brown  like  that  of  the  Chiin 
flower  pots,  but  the  form  of  this  piece  seems  to  be  later  than  Sung. 

Chiin  ware : fourteenth  centurj\ 

H.  12  inches.  D.  13%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


KO  WARE 

305  Vase  with  barrel-shaped  body,  rounded  shoulders,  cylindrical  neck  with  two 
horizontal  ridges  recalling  bamboo,  and  a projecting  edge  at  the  mouth.  Dense 
reddish  brown  ware  with  smooth  thick  glaze  of  soft  bluish  grey  celadon  colour 
boldly  marked  with  reddish  brown  crackle.  Under  the  foot  the  glaze  breaks  into 
thick  irregular  drops  at  the  edge. 

Kuan  or  Ko  ware  of  the  Sung  dynasty. 

H.  9%  inches.  D.  5%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


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No.  307 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

306  Vase,  bottle-shaped  with  pendulous  body  and  wide  tapering  neck : low  foot 
with  two  openings  at  the  sides.  Dark  red  brown  stoneware  with  thick  smooth 
glaze  of  clair-de-lune  grey  with  wide-meshed  irregular  crackle  of  brown  colour. 
Under  the  base  the  glaze  has  run  in  thick  rounded  folds  like  congealed  fat. 
Probably  Ko  ware  of  the  Sung  dynasty. 

H.  13%  inches.  D.  8%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

307  Vase  of  rectangular  form  with  pear-shaped  outline  and  wide  mouth:  two 
square  tubular  handles.  The  body  is  a dark  reddish  brown  ware  of  close  hard  tex- 
ture, and  the  glaze  is  thick,  sparsely  crackled,  and  of  misty  grey  colour  warmed  by 
the  red  tinge,  which  is  partly  due  to  the  underlying  clay  appearing  through  it. 
The  mouth  is  brown  at  the  edge,  where  the  glaze  is  thin.  The  base  is  hollow  and 
pierced  with  two  holes  for  a cord  which  would  pass  through  the  tubular  handles 
above.  There  are  large  flaws  on  one  side  where  the  glaze  has  halted  in  its  flow 
and  congealed  in  large  drops;  and  a few  smaller  flaws  of  the  same  kind  occur 
elsewhere.  This  vase  seems  to  correspond  closely  with  the  fen  ch'ing  coloured 
type  of  Kuan  ware,  described  in  Chinese  books  as  having  a “brown  mouth  and 
iron  foot,”  and  a faint  tinge  of  red  in  the  glaze. 

Kuan  or  Ko  ware : Sung  dynasty. 

H.  16  inches.  B.  11%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


CELADON  WARE 

308  Bowl  of  shallow  wide-mouthed  form.  Grey  porcellanous  ware  burnt  reddish 
brown  at  the  base,  which  is  unglazed.  Olive  green  celadon  glaze  frosted  and 
stained  with  brown  and  interrupted  inside  the  bowl  by  a broad  ring  which  is  al- 
most bare  of  glaze.  Inside  a square  seal  has  been  stamped  through  the  glaze, 
bearing  the  characters  tien  (heaven)  hsin  (heart). 

Probably  northern  Chinese : Sung  dynasty. 

H.  2 inches.  D.  5%  inches.  Loaned  by  Mr.  Howard  Mansfield. 

309  Shallow  bowl  with  gracefully  fluted  exterior.  Grey  porcellanous  ware  burnt 
brown  at  the  foot  rim.  The  glaze  is  ice-green  celadon  with  complex  crackle,  and 
the  surface  has  a dull  lustre  and  the  texture  of  sugar  icing. 

Sung  dynasty:  perhaps  Tung  Ching  ware  made  near  K'ai-feng  Fu. 

D.  6%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

310  Pair  of  bowls  of  shallow  conical  form  with  small  foot  and  wide  mouth.  Buff 
porcellanous  ware  with  olive  green  celadon  glaze.  The  interiors  are  carved  with  a 
beautiful  design  of  peony  flowers  and  foliage  shaded  with  combed  lines.  One  has 
foliage  on  the  exterior:  sand-marks  under  the  base. 

This  kind  of  ware  is  nearly  related  in  style  to  the  Corean. 

Probably  northern  Chinese:  Sung  dynasty. 

H.  2 inches.  D.  6%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


Uss;] 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

311  Bowl  of  rounded  form  with  high  straight  base  rim.  Grey  porcellanous  ware 
burnt  rusty  red  under  the  base,  with  pale  emerald  green  celadon  glaze,  lightly 
crackled.  Impressed  designs  inside  bordered  by  a key-fret  or  “cloud  and  thun- 
der” pattern.  On  the  sides  are  four  figures  of  celebrities  with  names  in  characters 
which  the  glaze  has  obscured:  one  is  Confucius;  another,  labelled  “Chen  tzu,”  is 
playing  checkers;  another  is  the  poet  Li  T'ai-po;  and  the  fourth  is  the  warrior 
Han-hsin.  In  the  centre  is  an  indistinguishable  design,  perhaps  a deer  and  the 
character  chien  (“unite”),  as  on  another  bowl  of  the  same  type:  a few  symbols 
appear  dimly  in  the  field. 

Lung-ch'iian  ( ?)  ware  of  the  Sung  dynasty. 

H.  Sys  inches.  D.  7 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

312  Vase,  bottle-shaped  with  pyriform  body,  slender  neck,  and  spreading  mouth. 
Stoneware  with  the  base  burnt  red;  painted  on  the  sides  with  a bold  foliage  scroll 
recalling  the  Greek  “honeysuckle”  pattern,  in  black  under  a deep  green  glaze. 
Sung  dynasty  or  earlier. 

H.  9%  inches.  D.  5 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

313  Bowl  of  conical  form  with  wide  mouth  and  small  foot,  the  sides  gently 
curving.  Greyish  porcellanous  ware  with  ornament  moulded  in  shallow  relief 
under  a transparent  green  celadon  glaze  of  brownish  tint  which  has  run  into  a 
pool  at  the  bottom  inside.  Inside,  in  the  centre,  is  a geometrical  quatrefoil  design 
enclosing  stiff  foliage,  surrounded  by  four  formal  flowers  and  leaves.  Border  of 
ovals  enclosing  lozenges.  The  outside  is  scored  with  radiating  vertical  lines. 
Probably  northern  Chinese  of  the  Yiian  dynasty. 

H.  3 inches.  D.  7%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

314  Bowl  of  conical  form  with  small  foot.  Grey  porcellanous  ware  with  olive 
green  celadon  glaze  faintly  clouded  with  grey.  Inside  is  a boldly  carved  scroll 
with  a large  peony  flower  and  foliage.  A wheel-made  ring  on  the  outside  below 
the  mouth. 

Probably  northern  Chinese : Sung  dynasty. 

H.  31/2  inches.  D.  8 inches.  Loaned  by  Mr.  John  Platt. 

315  Bowl  of  conical  form  with  small  foot  and  everted  mouth.  Buff  stoneware 
with  olive  green  glaze:  the  surface  frosted  over  with  opaque  grey  (probably  the 
result  of  decay)  and  stained  brown  by  age.  A bold  floral  scroll  is  carved  in  the 
interior,  and  the  outside  is  scored  with  radiating  flutes.  Glaze  under  the  foot  and 
sand-marks  on  the  rim. 

Northern  Chinese : Sung  dynasty. 

H.  3%  inches.  D.  8 inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

316  Bowl  of  conical  form  with  gently  rounded  sides  and  small  foot.  Grey  porcel- 
lanous ware  burnt  red  on  the  base  rim.  Beautiful  ice-like  glaze  of  deep  celadon 


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No.  318 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

green  with  olive  tone,  sparsely  crackled.  The  exterior  is  carved  in  shallow  relief 
with  petals  suggesting  a lotus  flower. 

Lung-ch'iian  ware  of  the  Sung  dynasty. 

H.  41/8  inches.  D.  9%  inches.  Loaned  by  Mr.  John  Platt. 

317  Dish  with  narrow  rim  and  deep  centre.  Thick  greyish  white  porcellanous 
ware  with  soft  grey-green  celadon  glaze.  In  the  centre  is  a four-clawed  dragon 
with  bird-headed  tail  and  a “pearl”  in  relief;  the  sides  are  carved  with  a bold 
foliage  scroll  and  fluted  at  the  hack. 

Lung-ch'iian  ware  of  the  Sung  dynasty. 

D.  14  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

318  Vase  with  ovoid  body,  tall  cylindrical  neck  with  spreading  mouth,  and  slightly 
spreading  base.  Grey-white  porcellanous  ware  burnt  rusty  brown  at  the  raw 
edge  of  the  base  and  covered  with  a beautiful  grey-green  celadon  glaze  of  faint 
bluish  tone.  On  the  body  is  a bold  peony  scroll  in  relief,  and  below  it  a belt  of 
stiff  plantain  leaves  carved  in  relief.  On  the  neck  are  three  peony  sprays  in  relief 
between  two  bands  of  wheel-made  ridges.  The  mouth  has  a metal  band. 
Lung-ch'iian  ware  of  the  Sung  dynasty. 

H.  191/4  inches.  D.  11  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

319  Wine  jar  with  broad  ovoid  body,  short  neck,  and  wide  mouth;  the  bottom  is 
formed  by  a saucer  which  has  been  dropped  into  place,  held  in  by  the  curve  of  the 
sides,  and  secured  by  the  glaze.  Grey  porcellanous  ware  burnt  rusty  brown  at  the 
raw  edges  of  the  mouth  and  base.  Celadon  glaze  with  complex  crackle:  a wide 
straight  mesh  enclosing  a small,  irregular  network  of  faint  lines.  The  colour  in- 
side is  greenish  grey  with  a tinge  of  blue;  outside  it  is  jade-green,  and  the  surface 
is  softened  by  decay. 

Lung-ch'iian  ware  of  the  Sung  dynasty. 

H.  10%  inches.  D.  I3I/2  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

GHIEN  WARE 

320  Bowl  of  conical  form  slightly  compressed  at  the  mouth;  with  small  foot. 
Greyish  stoneware  burnt  brown.  Thick  purplish  black  glaze  streaked  and  dap- 
pled with  golden  brown  in  which  are  a number  of  plum-blossom  reserves.  Gold 
band  on  the  mouth  rim. 

Chien  type : Sung  dynasty. 

H.  2Vi  inches.  D.  4%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

321  Bowl  of  conical  form  slightly  compressed  at  the  mouth : with  small  foot.  Buff 
stoneware  with  thick  black  glaze  mottled  outside  with  large  irregular  flecks  of 
dull  green.  The  inside  is  thickly  freckled  with  dull  green  in  which  are  reserved 
two  phoenixes  (feng  huang)  and  three  flowers. 

Chien  type ; probably  Sung  dynasty. 

H.  2%  inches.  D.  4%  inches. 


Loaned  by  a collector. 


• CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

322  Bowl  of  conical  form  with  straight  sides  and  small  foot.  Porcellanous  grey 
ware  with  thick  purplish  hlack  glaze,  dappled  with  large  irregular  drops  of  golden 
hrown  frosted  with  green. 

Chien  type : Sung  dynasty  or  earlier. 

H.  2 inches.  D.  5%  inches.  Loaned  by  a collector. 

323  Bowl  of  conical  form  with  straight  sides  and  small  foot.  Porcellanous  grey 
ware  having  thick  purplish  hlack  glaze  with  a few  flecks  of  golden  hrown.  Inside 
is  a design  of  a skeleton  leaf  expressed  in  frothy  golden  hrown  and  green.  Metal 
band  on  mouth  rim. 

Chien  type : Sung  dynasty  or  earlier. 

H.  2%  inches.  D.  6 inches.  Loaned  by  a collector. 

324  Bowl  of  conical  form  slightly  compressed  at  the  mouth:  with  small  foot. 
Dark  reddish  ware  burnt  black,  with  thick  purplish  black  glaze,  which  stops  short 
of  the  base,  frosted  over  with  a purplish  grey.  Gold  band  on  the  mouth  rim. 
Chien  ware  of  the  Sung  dynasty. 

H.  2%  inches.  D.  4Y2  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

325  Bow  of  conical  form  slightly  compressed  at  the  mouth:  with  small  foot. 
Dark  reddish  ware  burnt  black.  Thick  purplish  black  glaze  ending  in  a thick  roll 
above  the  base,  and  finely  streaked  with  lustrous  golden  brown,  the  brown  dom- 
inating the  black  on  the  upper  part.  Gold  band  on  the  mouth  rim. 

Chien  ware  of  the  Sung  dynasty. 

H.  inches.  D.  4yg  inches.  Loaned  by  a collector. 


326  Three  bowls  of  conical  form  slightly  compressed  at  the  mouth:  with  small 
foot.  Dark  red  ware  burnt  black.  Thick  purplish  black  glaze,  which  stops  short 
of  the  base,  finely  streaked  with  lustrous  golden  brown  or  silver:  in  one  case  the 
brown  predominates  on  the  upper  part.  Silver  bands  on  the  mouth  rims. 

These  are  the  “hare’s-fur”  or  “partridge”  cups  used  in  the  tea  contests  and  much 
prized  in  Japan,  where  they  are  named  temmoku. 

Chien  ware  of  the  Sung  dynasty. 

H.  2%  and  2^2  inches.  D.  5%,  5,  and  4%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

327  Bowl  of  conical  form  with  small  foot  and  spreading  mouth.  Dark  red  ware 
burnt  black.  Thick  purplish  black  glaze,  which  stops  in  an  even  welt  above  the 
base,  richly  dappled  with  large  lustrous  silvery  flecks. 

Chien  ware  of  the  Sung  dynasty. 

H.  3%  inches.  D.  lYi  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

CSS] 


No  213 


NO.  341 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

328  Vase  of  oval  form  with  short  neck  and  projecting  lip.  Grejdsh  bulf  stone- 
ware with  lustrous  black  glaze  showing  purple  reflections,  and  flecked  on  one 
shoulder  with  greenish  brown. 

Chien  type:  Sung  dynasty. 

H.  10%  inches.  D.  5%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

329  Vase  of  broad  oval  form  with  small  neck  and  mouth:  a belt  of  obliquely 
scored  lines  faintlj'^  visible  in  the  lower  part.  Buff  stoneware  with  thick  black 
glaze  showing  purplish  reflections.  Spur-marks  under  the  base. 

Sung  or  Yuan  period  and  probably  Chien  ware  of  the  province  of  Fukien. 

H.  9 inches.  D.  8%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

330  Vase  of  oval  form  with  small  neck  and  projecting  lip.  Dark  grey  stoneware 
with  thick  purplish  black  glaze  mottled  with  large  irregular  splashes  of  golden 
brown  frosted  with  green. 

Chien  type : Sung  dynasty. 

H.  13%  inches.  D.  7%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


TZ‘U-GHOU  WARE 

331  Vase  with  slender  ovoid  body,  narrow  neck  with  spreading  foliate  mouth 
folded  over  in  six  crinkled  petals,  baluster  stem,  and  spreading  foot.  Greyish  buff 
stoneware  with  coating  of  white  slip  and  creamy  crackled  glaze  stopping  short  of 
the  base.  On  the  shoulder  is  a shallow  wheel-made  groove,  and  the  glaze  has  a 
faint  bluish  stain  on  one  side. 

Probably  Tz'u-chou  ware  of  Ting  type:  Sung  dynasty. 

H.  10  inches.  D.  4 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


332  Vase  with  ovoid  body  and  tall  slender  neck  having  wide  crinkled  foliate 
mouth  with  five  petals  folded  down : the  base  incomplete.  Grey  porcellanous  ware 
with  coating  of  solid  white  slip  and  a smooth  white  glaze.  The  ornament  is 
painted  in  black  with  a full  brush.  On  the  body  are  four  oval  medallions  with 
wavy  borders  enclosing  the  characters  ching  (respect)  yang  (tend)  hsiang  (fra- 
grant) hua  (flowers),  with  a pair  of  formal  flowers  between,  and  concentric  rings 
above  and  below.  On  the  neck  are  three  formal  flowers. 

Tz'u-chou  ware  of  the  Sung  dynasty. 

H.  8%  inches.  D.  4%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


333  Vase  of  slender  baluster  form  with  tall  narrow  neck  and  wide  saucer-shaped 
mouth  with  flat  sides.  Greyish  white  porcellanous  ware  with  white  slip  which 
stops  in  an  uneven  line  above  the  base,  and  a smooth  greyish  white  glaze;  graffito 
ornament  showing  white  against  a mouse-grej^  ground.  On  the  body  is  a bold 


r89] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

floral  scroll  with  etched  details,  and  on  the  shoulder  is  a foliage  scroll.  There  is 
a band  of  wheel-made  lines  in  the  middle  of  the  neck. 

Tz'u-chou  ware  of  the  Sung  dynasty. 

H.  20  inches.  D.  7^^  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


334  Vase  of  slender  oval  form  with  small  neck  and  conical  mouth.  Grey  stone- 
ware coated  with  white  slip  over  which  is  a colourless  glaze  minutely  crackled. 
Graffito  ornament  in  three  broad  bands.  In  the  central  band  is  a bold  foliage 
scroll  with  the  background  cut  away  and  etched  details  showing  white  against  a 
mouse-coloured  ground:  below  this  is  a formal  pattern  of  Vandykes  and  arches 
with  slashed  lines  between;  and  on  the  shoulder  is  a foliage  scroll  with  etched 
outlines  and  details,  the  background  powdered  with  small  impressed  circles. 
Tz'u-chou  ware  of  the  Sung  dynasty. 

H.  18^  inches.  D.  8 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


335  Vase  of  slender  oval  form  with  small  mouth.  Buff  stoneware  with  a coating 
of  solid  white  slip  and  a creamy  white  glaze,  boldly  painted  with  belts  of  orna- 
ment in  black.  On  the  sides  is  a broad  band  of  floral  scroll;  below  it  a narrower 
band  with  three  foliage  sprays,  which  is  repeated  on  the  shoulder:  stiff  leaves 
round  the  foot.  The  glaze  is  shrunk  in  shallow  wrinkles  on  the  upper  part. 
Tz'u-chou  ware  of  the  Sung  dynasty. 

H.  16%  inches.  D.  7%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


336  Vase  with  pear-shaped  body,  high  broad  shoulders,  short  contracted  neck, 
and  wide  mouth:  a wide  flange  at  the  base.  Reddish  stoneware  with  wash  of 
white  slip  and  creamy  white  glaze.  Painted  ornament  in  black  with  touches  of 
orange  slip.  The  main  design  is  a broad  band  containing  three  pointed  quatrefoil 
panels  with  figure  subjects:  (1)  a garden  terrace  with  a seated  personage  and  an 
attendant  giving  him  wine;  (2)  a similar  figure  reclining  in  a garden  under  a fruit- 
laden tree;  and  (3)  an  interior  with  a man  sleeping.  The  spaces  are  filled  with 
scroll-work.  On  the  shoulder  is  a broad  belt  of  foliage  scrolls  with  four  large 
flowers  at  even  intervals ; and  there  are  narrow  borders  of  key -fret,  Vandyke,  and 
scroll  patterns,  and  a band  of  false  gadroons  on  the  foot.  The  base  is  edged  with 
a broad  black  band. 

Tz'u-chou  ware : Yiian  dynasty. 

H.  13%  inches.  D.  11%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


337  Vase  similar  in  form  and  make  to  No.  336,  and  with  similarly  arranged  de- 
sign, but  executed  in  graffito  etching  through  a wash  of  thin  black,  the  incisions 
disclosing  the  white  slip  beneath.  The  figures  in  the  panels  in  this  case  represent 
three  sages — one  looking  at  a lotus  in  a pool,  another  pointing  to  a skeleton  on  the 
ground,  and  the  third  standing  before  a blossoming  tree:  in  each  panel  are  rocks 


No,  334 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

and  bamboos,  and  clouds  floating  above.  The  belts  of  ornament  are  separated  by 
white  bands  painted  with  concentric  rings  in  black. 

Tz'u-chou  ware : Yiian  dynasty. 

H,  12%  inches.  D.  11%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

338  Jar  with  broad  ovoid  body,  short  neck,  and  wide  mouth.  Greyish  buff  stone- 
ware with  a coating  of  white  slip  and  ornament  painted  in  dull  black  under  a 
colourless,  minutely  crackled  glaze.  On  the  sides  and  shoulders  is  a winged  four- 
clawed  dragon  among  ju-i  cloud  scrolls,  disappearing  behind  two  triangular  de- 
signs filled  in  with  wavy  lines  and  representing  mountains  or  waves : below  this 
is  a band  of  formal  ornaments  dashed  on  at  intervals.  Both  bands  are  bordered 
by  concentric  rings;  and  the  detail  of  the  main  ornament  is  etched  out  with  a 
point,  showing  white  in  the  black  ground.  Inside  is  a dark  brown  glaze. 
Tz‘u-chou  ware  of  the  Sung  dynasty. 

H.  11%  inches.  D.  13  inches.  Loaned  &r/ Mr.  Samuel  T.  Peters. 

339  Vase  with  pear-shaped  body,  broad  high  shoulders,  short  neck,  wide  mouth 
with  rolled  edge,  and  low  spreading  base.  Reddish  stoneware  with  coating  of 
white  slip  and  a faintly  crackled  cream  glaze  with  light  greenish  stains. 

Tz‘u-chou  ware  of  the  Yiian  dynasty. 

H.  13%  inches.  D.  11%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


340  Jar  with  broad  ovoid  body,  short  neck,  and  wide  mouth.  Greyish  white 
stoneware  with  thick  brown  glaze  inside  and  out.  On  the  outside  the  glaze  is  lus- 
trous, showing  purplish  reflections  and  clouded  with  metallic  brown.  Graffito 
ornament  in  two  broad  belts  of  bold  foliage  scrolls,  the  background  cut  away  and 
exposing  the  unglazed  biscuit. 

Tz'u-chou  ware  of  the  Yiian  dynasty. 

H.  12%  inches.  D.  13  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


TING  YAO  AND  OTHER  WARE 

341  Vase  with  graceful  ovoid  body,  wide  mouth  with  low  rim,  and  small  base. 
Thin  and  highly  translucent  porcelain  which  seems  almost  bodiless.  The  glaze  is 
of  delicate  pearly-grey  tint,  crackled,  and  faintly  clouded  with  minute  brown 
specks.  The  base,  which  is  only  partially  covered  with  glaze,  shows  a white  body 
rough  with  kiln-sand. 

The  form  of  this  exquisite  vase  is  Grecian,  and  it  is  probably  the  earliest  piece  of 
translucent  porcelain  as  yet  published. 

Sung  dynasty  or  earlier. 

H.  3%  inches.  D.  3%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

342  Bowl  of  shallow  conical  form  with  wide  mouth,  straight  sides,  and  small 
foot.  Light  buff  ware  with  thick  even  glaze  of  opaque  reddish  brown  colour  pass- 
ing into  lustrous  purplish  black  in  the  lower  parts.  The  base  is  unglazed. 

Found  in  Corea. 

Chien  type : Sung  dynasty  or  earlier. 

H.  1%  inches.  D.  51/2  inches.  Loaned  by  Mr.  John  Platt. 

343  Bowl  of  conical  form  with  straight  sides  and  small  foot.  Grey  porcellanous 
ware  burnt  red  and  covered  with  a brownish  green  celadon  glaze  clouded  with 
purplish  grey.  The  interior  is  impressed  with  a lotus  flower  in  the  centre  and  a 
design  of  three  fish  among  lotuses  and  aquatic  plants  on  the  sides,  bordered  by 
a key-fret  or  “cloud  and  thunder”  pattern.  The  base  is  unglazed.  Silver  band 
on  the  mouth  rim. 

Northern  Chinese : Sung  dynasty. 

H.  3%  inches.  D.  6^  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

344  Bowl  of  conical  form  with  small  foot  and  gently  curving  sides.  Hard  buff- 
white  ware  with  ornament  strongly  etched  with  a pointed  instrument  under  a soft 
yellowish  glaze  minutely  crackled  and  clouded  with  a light  smoky  brown  stain: 
the  mouth  rim  unglazed  and  fitted  with  a silver  band.  Inside,  a lotus  flower  at  the 
bottom  and  lotus  scrolls  on  the  sides. 

T'u  Ting  ware  of  the  Sung  dynasty. 

H.  dV2  inches.  D.  6 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

345  Bowl  of  wide  conical  form  with  straight  sides  and  small  foot.  Hard 
buff-white  ware  with  ornament  moulded  in  low  relief  under  a creamy  white 
glaze,  slightly  crackled  on  the  exterior.  The  mouth  rim  is  bare  and  fitted  with  a 
silver  band.  Inside  is  a lotus  flower  at  the  bottom  and  a design  of  three  fish  among 
lotuses  and  aquatic  plants  on  the  sides,  edged  with  a band  of  key-fret  or  “cloud 
and  thunder”  pattern. 

T'u  Ting  ware : Yiian  dynasty. 

H.  31/4  inches.  D.  8 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

346  Bowl  of  conical  form  with  small  foot  and  six-foil  mouth  rim.  Slightly  trans- 
lucent porcelain  with  ivory-white  glaze  and  faint  brownish  “tear-stains.”  Boldly 
carved  ornament  consisting  of  a lotus  flower  in  the  bottom  and  a lotus  scroll  on 
the  side  within  and  without.  Metal  band  on  rim. 

Pai  Ting  ware  of  the  Sung  dynasty. 

H.  81/4  inches.  D.  3%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

347  A pair  of  conical  bowls  with  small  foot  and  straight  sides,  the  mouth  rim 
bare  and  fitted  with  a silver  band.  Hard  buff-white  ware  with  lightly  moulded 
ornament  under  a warm  creamy  glaze  which  is  irregularly  crackled.  Inside  is  a 

[92] 


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CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

lotus  flower  at  the  bottom  and  a design  of  flowering  lotuses  growing  up  the  sides, 
edged  with  a band  key-fret,  called  “cloud  and  thunder”  pattern  by  the  Chinese. 
T'u  Ting  ware : Sung  dynasty. 

H.  3%  inches.  D.  7%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

348  Saucer  dish  with  six-lobed  edge.  Porcelain  with  moulded  design  in  low  relief 
under  an  ivory-white  glaze;  “tear-stains”  on  the  outside.  The  mouth  rim  is  un- 
glazed and  fitted  with  a silver  band.  Inside  is  a peony  scroll  with  three  semi-nude 
boys  among  the  branches. 

Pai  Ting  ware : Sung  or  Yiian  period. 

D.  7%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

349  Saucer  dish  with  fluted  sides  and  narrow  rim  with  wavy  edge.  Porcelain 
with  ivory-white  glaze:  moulded  design  on  the  interior.  The  unglazed  edge  is 
fitted  with  a silver  band.  In  the  centre  is  a Buddhistic  figure  holding  over  his 
head  a bowl  of  lotuses  surrounded  by  a halo  of  flames;  beside  him  is  a deer,  the 
Taoist  symbol  of  longevity,  and  in  the  spaces  are  two  bowls  of  growing  lotus 
plants.  On  the  sides  are  floral  sprays, repeated  in  each  of  the  flutes,  and  on  the 
rim  is  a pattern  of  overlapping  leaves. 

Pai  Ting  ware  of  the  Yiian  period. 

D.  8%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

350  Dish  with  narrow  flat  rim.  Porcelain  with  ivory-white  glaze : the  edge  bare 
and  fitted  with  silver  band.  In  the  centre  is  a beautiful  scroll  of  formalised  lotus 
or  peony  flowers  with  feathery  foliage  boldly  carved;  on  the  rim  is  a running 
foliage  scroll  etched  with  a point. 

Pai  Ting  ware  of  the  Sung  dynasty. 

D.  10  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

351  Basin  with  wide  mouth,  gently  curving  sides,  and  flat  base.  Slightly  trans- 
lucent porcelain  with  ivory-white  glaze:  “tear-marks”  on  the  exterior.  The  un- 
glazed mouth  rim  is  fitted  with  a silver  band.  Ornamented  with  boldly  carved 
lotus  scrolls  inside  and  out. 

Pai  Ting  ware  of  the  Sung  dynasty. 

H.  4V2  inches.  D.  9%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

352  Basin  of  conical  form  with  gently  curving  sides  and  small  foot.  Hard  buff- 
white  ware  with  ornament  moulded  in  low  relief  under  a faintly  crackled  glaze  of 
warm  cream  colour.  The  mouth  rim  is  bare  and  fitted  with  a silver  band.  In  the 
centre  is  a fish,  and  on  the  sides  a design  of  three  fishes  among  lotuses  and  aquatic 
plants,  bordered  by  a band  of  key-fret  or  “cloud  and  thunder”  pattern. 

T'u  Ting  ware  of  the  Sung  or  Yuan  period. 

H.  4%  inches.  D.  13%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

353  Vase  with  slender  ovoid  body  and  small  neck  with  flanged  mouth.  Buff 
stoneware  with  white  slip  coating  which  reaches  almost  to  the  base,  and  a colour- 
less glaze.  The  surface  is  minutely  crackled  and  has  the  solid  ivory-white  appear- 
ance of  the  choicest  Satsuma  ware. 

Sung  dynasty  or  earlier : probably  made  in  the  province  of  Shansi. 

H.  9%  inches.  D.  5 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

354  Vase  with  graceful  ovoid  body  and  small  mouth.  Translucent  porcelain  with 
ivory-white  glaze,  clouded  in  parts  with  smoky  brown  stains. 

Probably  made  at  Ching-te-chen  in  the  Sung  dynasty. 

H.  7%  inches.  D.  6%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

355  Vase  of  slender  oval  form  with  short  neck  and  small  mouth.  Hard  white 
ware  with  faintly  crackled  cream  glaze  which  has  flowed  unevenly  in  light 
brownish  “tear-stains.”  Through  the  glaze  dimly  appears  a formal  lotus  scroll 
freely  incised  and  covering  the  whole  surface. 

T'u  Ting  ware  of  the  Sung  dynasty. 

H.  12^2  inches.  D.  5%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

356  Vase  with  slender  ovoid  body,  small  mouth  spreading  at  the  lip,  and  slightly 
spreading  base.  Buff-grey  stoneware  with  opaque  creamy  white  glaze  stained 
brown  by  age  and  splashed  with  green  on  the  shoulders.  The  glaze  stops  in  an 
uneven  line  short  of  the  base. 

Sung  dynasty  or  earlier,  and  probably  made  in  the  province  of  Shansi. 

H.  13  inches.  D.  6 inches.  Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

357  Vase  with  graceful  ovoid  body,  short  contracted  neck,  and  flanged  mouth, 
the  line  being  broken  at  the  shoulder  by  a slightly  raised  ridge  and  three  wheel- 
made  bands  incised.  White  porcelain  with  ivory-white  glaze  and  a few  faint 
brownish  “tear-stains” : flat  base  bevelled  at  the  edge. 

Probably  Ching-te-chen  ware  of  the  Sung  dynasty. 

H.  13  inches.  D.  1^2,  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

358  Pilgrim  bottle  of  flattened  flask  form  with  two  dragon  handles  at  the  neck. 
Porcellanous  ware  with  ornament  moulded  in  low  relief  under  a cream  white 
glaze.  On  each  side  are  scrolls  of  conventional  peonies  (the  fu  kuei  flower,  sym- 
bolishing  riches  and  honours)  with  ju-z-shaped  petals  in  their  centres,  enclosing 
bats,  which  are  emblems  of  happiness:  borders  of  key-fret  or  “cloud  and  thun- 
der” pattern. 

T'u  Ting  ware  of  the  Yiian  dynasty. 

H.  12  inches.  D.  8%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

359  Vase,  bottle-shaped  with  depressed  globular  body  and  tall  slender  neck  with 
a ten-lobed  bulb  at  the  mouth.  Dense  buff  stoneware  with  creamy  crackled  glaze 
clouded  with  dull  reddish  brown  stains.  Etched  ornament  consisting  of  five  bats 


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No,  370 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

(emblems  of  the  five  blessings)  among  ju-i  cloud  scrolls.  A border  of  gadroons 
and  of  key-fret  at  the  junction  of  shoulder  and  neck,  and  a band  of  stiff  plantain 
leaves  on  the  neck. 

The  wu  fu,  or  five  blessings,  are  Riches,  Happiness,  Longevity,  Peace  and  Tran- 
quillity, and  An  end  crowning  the  life. 

T'u  Ting  ware  of  the  Yiian  dynasty. 

H.  12  inches.  D.  8%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

360  Vase  with  broad  pear-shaped  body,  short  neck,  and  wide  spreading  mouth. 
Reddish  brown  stoneware  with  closely  crackled  cream  glaze,  stained  by  age  and 
corrugated  under  the  base.  The  form  and  ornament  are  taken  from  an  antique 
bronze,  and  the  latter  consists  of  a belt  of  k"uei  dragon-fret,  a border  of  jii-i  heads 
on  the  neck,  and  a band  of  studs  on  the  lower  part  of  the  body. 

Probably  made  in  the  province  of  Kiangnan  in  the  Sung  dynasty. 

H.  9%  inches.  D.  10  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

361  Vase  with  graceful  ovoid  body  and  short  narrow  neck  with  spreading  mouth. 
Reddish  buff  stoneware  with  wash  of  white  slip  and  a solid  smooth  white  glaze 
of  ivory  tone  faintly  browned  by  age.  The  glaze  is  minutely  crackled  and  has  the 
texture  and  lustre  of  an  egg. 

Ting  type;  probably  made  at  Tz'u-chou  or  in  one  of  the  Shansi  factories.  Sung 
dynasty  or  earlier. 

H.  14%  inches.  D.  7%  inches.  Loaned  by  Mr.  Wang  (Shanghai,  China). 

362  Vase  in  form  of  a flattened  flask-shaped  bottle  with  short  straight  round 
neck  and  hollow  oval  foot.  Thin  white  pottery  of  moderate  hardness,  with  de- 
signs moulded  in  low  relief  under  a faintly  crackled  creamy  glaze  which  has 
flowed  unevenly  here  and  there  and  formed  in  thick  patches  and  drops.  On  one 
side  is  a three-clawed,  full-face  dragon  among  ju-f-shaped  clouds  and  flame 
scrolls,  grasping  a “pearl.”  On  the  other  side  is  a phoenix  among  ju-i  clouds, 
standing  on  one  leg.  Borders  of  key-fret  or  “cloud  and  thunder”  pattern. 

The  ju-i  (“as  you  wish”)  sceptre,  which  has  a head  like  the  ling-chih  fungus,  is 
an  auspicious  object  which  brings  fulfilment  of  wishes.  Conventional  cloud 
scrolls  commonly  end  in  a form  suggesting  the  ju-i  head  and  embodying  its 
auspicious  meaning. 

T'u  Ting  ware  of  the  Yiian  dynasty. 

H.  14%  inches.  D.  11%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

363  Vase  with  slender  pear-shaped  body  and  tall  tapering  neck,  slightly  spread- 
ing at  the  mouth.  Reddish  buff  stoneware  with  creamy  glaze  having  fine  “fish- 
roe”  crackle,  faintly  tinged  with  brown. 

Probably  Sung  ware  of  the  Ting  class,  made  in  the  Kiangnan  factories. 

H.  18%  inches.  D.  7 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

364  Vase  with  slender  ovoid  body  and  high  narrow  neck  with  flaring  mouth. 
Hard  buff-white  ware  with  a wheel-made  band  on  the  shoulder  and  on  the  neck. 
Creamy  glaze  of  uneven  flow,  flawed  in  places  and  stained  by  age. 

T'u  Ting  ware  of  the  Sung  dynasty. 

H.  21  inches.  D,  71/2  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

365  Vase  with  tall  slender  body  gently  rounded  at  the  shoulders,  short  neck,  and 
wide  mouth.  Buff-white  stoneware  with  yellowish  creamy  glaze  closely  crackled 
in  “fish-roe”  pattern  and  clouded  with  brown  stains.  The  surface  is  uneven  like 
orange  peel. 

Ting  type : probably  made  in  the  province  of  Kiangnan  in  the  Yuan  dynasty. 

H.  19Y2  inches.  D.  5%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


366  Vase  of  oval  form  with  narrow  mouth  rounded  at  the  lip.  Reddish  buff 
stoneware  with  thick  brownish  cream  glaze,  minutely  crackled,  and  with  granular 
surface  varying  from  ostrich-egg  to  shark-skin  texture. 

Probably  made  in  the  province  of  Kiangnan  in  the  Sung  dynasty. 

H.  16l^  inches.  D.  11  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


367  Vase  with  slender  ovoid  body,  short  contracted  neck,  and  spreading  mouth. 
Reddish  brown  stoneware  with  thick  cream  glaze  shading  off  into  faint  brown  in 
places,  and  lightly  stained  here  and  there  with  purple.  The  glaze,  besides  being 
crackled,  has  a rough  granular  surface,  usually  compared  with  that  of  an  ostrich 
egg.  Inside  the  mouth  the  granulations  are  exaggerated  and  the  glaze  has  a 
shark-skin  texture.  The  ornament  is  borrowed  from  an  antique  bronze,  and  con- 
sists of  a belt  of  key-fret  and  k^uei  dragon  pattern  outlined  in  low  relief,  and  a 
band  of  round-headed  studs  on  the  shoulder. 

Probably  made  in  the  province  of  Kiangnan  in  the  Sung  dynasty. 

H.  17%  inches.  D.  lO^A  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


368  Quadrangular  vase  of  bronze  form  with  wide  shoulders,  contracted  neck 
with  sides  almost  straight,  and  slightly  expanded  mouth : low,  hollow  base.  Hard 
buff-white  pottery  with  sparsely  crackled  cream  glaze  of  uneven  flow,  and  show- 
ing “tear-marks”  and  brownish  passages  where  it  has  run  thick.  Boldly  incised 
ornament  consisting  of  a belt  of  formal  lotus  designs  enclosed  by  scrolled  foliage. 
Borders  of  ju-i  scrolls  at  the  base;  of  false  gadroons  enclosing  cusped  ornament 
on  the  shoulders;  and  of  key-fret  or  “cloud  and  thunder”  pattern  on  the  neck. 

T'u  Ting  ware  of  the  Sung  dynasty. 

H.  20  inches.  D.  14%  inches.  W.  of  a side,  10  inches. 

Loaned  by  Mr.  Samuel  T.  Peters. 


No,  368 


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CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 


KUANGTUNG  AND  OTHER  WARE 

369  Vase  with  wide  pear-shaped  body,  high  shoulders,  small  contracted  neck, 
and  spreading  lip  fitted  with  a silver  collar.  Buff  stoneware  with  finely  crackled 
glaze  of  pinkish  lavender  colour,  thickly  frosted  on  the  neck,  shoulders,  and  one 
side  with  opaque  buff  grey. 

Probably  Kuangtung  ware  of  the  Sung  or  Yuan  period. 

H.  8%  inches.  D.  7^  inches.  Loaned  by  a collector. 

370  Vase  of  wide  baluster  form  with  high  shoulders,  strengthened  by  a wide 
moulded  band  with  wavy  eight-foil  edge:  small  neck  and  mouth.  Buff  stoneware 
with  a bold  scroll  of  formal  lotus  design  in  relief  under  an  opaque  and  closely 
crackled  glaze  of  pale  lavender  grey  colour  warming  into  purple.  At  the  mouth 
the  glaze  has  scaled  off. 

Probably  Kuangtung  ware  of  the  fourteenth  century. 

H.  11  inches.  D.  7%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

371  Pair  of  jars  with  broad  ovoid  body,  small  short  neck,  and  rounded  lip.  Red 
stoneware  with  finely  crackled  glaze  of  turquoise  blue  colour,  darkening  on  the 
sides  and  clouded  with  turquoise  green.  A few  patches  of  red  lacquer  on  the 
shoulders  cover  inequalities  in  the  surface.  On  the  shoulder  of  each  is  the  inscrip- 
tion in  raised  characters  under  the  glaze:  Nei  fu  kung  yung  (“Supplied  for  use 
in  the  imperial  palace”) . 

Probably  fourteenth  century. 

H.  12%  inches.  D.  12%  inches.  Loaned  by  a collector. 

372  Vase  of  broad  oval  form  with  short  straight  neck : faint  wheel-made  lines  are 
visible  on  the  sides.  Grey  porcellanous  ware  with  opalescent  glaze  of  lavender 
grey  colour.  On  the  exterior  the  glaze,  which  ends  above  the  base,  varies  in  depth 
and  tone,  being  suffused  with  a warm  purple  tinge  and  shot  here  and  there  with 
blue:  on  the  shoulders  are  three  symmetrically  placed  patches  of  opaque  white 
shading  off  into  green  of  varying  intensity  flecked  with  dull  purple.  On  the  in- 
terior the  glaze  is  of  a more  uniform  lavender  colour  and  is  strongly  crackled. 
The  base  is  unglazed  and  lightly  browned  by  the  firing,  and  it  has  a few  incised 
lines,  perhaps  intended  for  a mark  ji.  . 

Chun  ware  of  the  Sung  dynasty. 

H.  11  inches.  D.  12  inches. 


Loaned  by  Mr.  Samuel  T.  Peters. 


No.  141 


COREAN 


The  Corean  wares  described  below  have  mostly  come  from  tombs  and  show 
signs  of  burial.  A few,  indicated  in  each  case  by  a foot-note,  have  been  pre- 
served in  Japanese  collections.  They  all  appear  to  belong  to  the  Korai  period 
(936-1392  A.D.),  when  the  potteries  at  the  capital,  then  Sungdo,  were  very  cele- 
brated. Under  the  succeeding  dynasty  the  capital  was  removed  to  Seoul,  the 
Sungdo  potteries  fell  into  disuse,  and  the  burial  customs  changed,  so  that  tomb 
wares  of  post-Korai  period  are  exceptional. 

101  Miniature  vase  of  flattened  globular  form  with  small  neck  and  cup-shaped 
mouth.  Grey  porcellanous  ware  with  ornament  inlaid  in  black  and  white  under 
a soft  greenish  grey  celadon  glaze,  lightly  frosted  in  places  with  brown.  On  the 
shoulders,  four  chrysanthemum  blossoms  between  plain  white  bands.  Sand- 
marks  beneath. 

Corean : Korai  period. 

H.  2%  inches.  D.  2%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

102  Pigment  box  of  flattened  circular  form.  Grey  porcellanous  ware  with  orna- 
ment inlaid  in  white  and  black  under  a soft  greenish  grey  celadon  glaze  with 
bluish  tones.  On  the  cover,  a flowering  chrysanthemum  spray.  Spur-marks 
beneath. 

Corean : Korai  period. 

H.  1%  inches.  D.  3%e  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

103  Water  dropper  in  form  of  a duck  swimming  with  a spray  of  lotus  in  its  bill. 
Finely  modelled  in  grey  porcellanous  ware  with  etched  details;  greenish  grey  cela- 
don glaze  lightly  crackled  and  frosted  with  brown.  On  the  back  is  a hole  for 
filling,  and  the  open  bill  serves  as  a spout;  the  eyes  are  touched  in  with  black. 
Spur-marks  beneath. 

Corean : Korai  period. 

H.  3%  inches.  L.  5%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


104  Pigment  box  of  flattened  circular  form.  Grey  porcellanous  ware  with  orna- 
ment etched  and  inlaid  in  white  and  black  under  a soft  greenish  grey  celadon 


C99] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

glaze  with  bluish  tone.  On  the  cover,  two  storks  with  ling-chih  fungus  sprays 
(symbolising  longevity)  and  a border  of  etched  rays.  On  the  sides,  etched  key 
pattern.  Three  spur-marks  beneath. 

Corean : Korai  period. 

H.  1%  inches.  D.  3%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

105  Bowl  of  conical  form  with  small  foot.  Grey  porcellanous  ware  with  grey- 
green  celadon  glaze  sparsely  crackled  and  lightly  frosted  with  brown.  Inside  are 
three  geese  in  faint  relief.  Sand-marks  on  the  base. 

Corean : Korai  period. 

H.  2%  inches.  D.  6^  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

106  Bowl  of  conical  form  with  small  foot.  Grey  porcellanous  ware  burnt  red  at 
the  base,  with  grey-green  celadon  glaze.  Inside  is  a band  of  floral  scroll  faintly 
incised.  Sand-marks  underneath. 

Corean : Korai  period. 

H.  2V2  inches.  D.  6I/2  inches. 

Loaned  by  Smithsonian  Institution,  (Freer  Collection.) 

« 

107  Bowl  of  conical  form  with  small  foot  and  slightly  contracted  mouth;  grey 
porcellanous  ware  burnt  red  at  the  foot.  Olive  green  celadon  glaze.  Incised 
ornament  consisting  of  a band  of  bold  foliage  scroll  shaded  with  cogged  lines,  and 
in  the  centre  a faint  floral  ornament:  the  outside  scored  with  radiating  lines. 
Probably  Corean : Korai  period. 

H.  2V2  inches.  D.  6%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

108  Bowl  of  conical  form  with  rounded  sides  and  grey-green  celadon  glaze  of 
bluish  tone,  lightly  crackled;  parts  of  the  exterior  are  frosted  with  brownish  white. 
Inside  is  a grape-vine  pattern  with  scroll  border  in  low  relief.  Three  spur-marks 
on  the  base. 

Corean : Korai  period. 

H.  3 inches.  D.  7%  inches.  Loaned  by  Mr.  John  Platt. 

109  Bowl  with  rounded  sides.  Grey  porcellanous  ware  with  ornament  inlaid  in 
white  with  touches  of  black  under  a smooth  grey-green  celadon  glaze  of  bluish 
tinge,  partly  frosted  over  with  brown  and  sparsely  crackled.  The  designs  consist 
of  a broad  band  of  feathery  scroll-work  outside,  broken  by  four  medallions  of 
single  flowers:  a border  of  wavy  pattern  above,  and  four  small  chrysanthemum- 
like flowers  below.  Inside  are  five  sprays,  each  with  three  nuts,  on  the  sides,  and 
similar  design  in  the  centre:  border  of  wave  pattern.  Three  spur-marks  under 
the  base. 

Corean : Korai  period. 

H.  2%  inches.  D.  7%  inches.  Loaned  by  Mr.  John  Platt. 


Cloo] 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

110  Bowl  of  shallow  rounded  form.  Grey  porcellanous  ware  with  ornament  in- 
laid in  black  and  white  under  a crackled  greenish  grey,  frosted  in  parts  with 
brown.  Outside  is  a broad  band  of  bold  foliage  design  reserved  in  a black  ground, 
broken  by  four  medallions  of  white  chrysanthemum  flowers:  below  is  a border  of 
overlapping  leaves,  and  above  a band  of  wave  pattern.  Inside  are  chrysanthemum 
flowers  enclosed  by  a ring  of  jii-i  heads,  and  a broad  band  of  formal  peony  scroll 
involving  four  flying  phoenixes  (feng  hiiang),  above  which  are  three  narrow  bor- 
ders of  circles  and  wave  pattern  and  of  small  zigzag  ornaments  broken  by  four 
flying  cranes.  Spur-marks  beneath. 

Corean.  Korai  period. 

H.  2%  inches.  D.  7%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

111  Bowl  with  small  foot  and  rounded  sides.  Grey  porcellanous  stoneware  with 
ornament  inlaid  in  white  under  a lightly  crackled  greenish  grey  glaze  of  bluish 
tone : part  of  the  exterior  frosted  by  decay.  Outside  is  a broad  band  of  feathery 
scroll-work  enclosing  medallions  of  chrysanthemum  blossoms:  four  similar  blos- 
soms below.  Inside,  a chrysanthemum  in  the  centre  with  border  of  ju-i  heads, 
and  on  the  sides  five  clusters  of  nuts:  narrow  edging  of  wave  pattern.  Three 
spur-marks  beneath. 

Corean : Korai  period. 

H.  3%  inches.  D.  7%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


112  Bowl  with  small  flat  base  and  gracefully’'  rounded  sides,  flattened  at  the 
mouth.  Grey  porcellanous  ware  with  smooth  greenish-grey  celadon  glaze  of 
bluish  tone,  lightly  crackled.  Three  spur-marks  beneath. 

Corean : Korai  period. 

H.  SVs  inches.  D.  9 inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


113  Bowl  of  conical  form  with  small  foot.  Thin  translucent  porcelain,  burnt  a 
faint  red  at  the  base,  which  is  unglazed.  Inside  is  engraved  a free  design  of  grass 
and  foliage  scrolls  against  a background  of  combed  and  cogged  lines.  Pearly 
white  glaze  lightly  frosted  and  browned  by  age  and  decay. 

Corean : Korai  period. 

H.  1%  inches.  D.  4%  inches.  Loaned  by  Mr.  John  Platt. 

114  Bowl  of  conical  form  with  small  foot  and  straight  sides.  Translucent  porce- 
lain, grey  at  the  base,  with  pale  pearly  grey  glaze  of  bluish  tone.  Inside  is 
slightly  raised  ornament  consisting  of  two  phoenixes  {feng  huang)  and  lilies,  with 
border  of  key-fret  or  “cloud  and  thunder”  pattern. 

Probably  Corean : Korai  period. 

H.  2^2  inches.  D.  6%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


nioi] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

115  Bowl  with  small  foot,  gently  curving  sides,  and  wide,  slightly  everted  mouth 
with  six-foil  edge.  Porcelain  with  unglazed  base  burnt  to  a reddish  tint  and  of 
porous-looking  texture.  Transparent  greenish  white  glaze  lightly  crackled. 
Boldly  carved  design  of  feathery  foliage,  scored  here  and  there  by  a toothed  in- 
strument. 

Probably  Corean : Korai  period. 

H.  2%  inches.  D.  7^  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


116  Bowl  of  conical  form  with  small  foot,  gently  curved  sides,  and  slightly  everted 
mouth.  Thin,  white,  translucent  porcelain  with  a bare  patch  under  the  base 
showing  a porous-looking  body  burnt  to  a reddish  tone : pearly  white  glaze  lightly 
browned  by  age.  Inside  is  a band  of  incised  ornament,  a free  sketchy  design  of 
feathery  foliage  in  which  formalised  and  barely  recognisable  forms  of  Chinese 
boys  can  be  traced. 

Corean : Korai  period. 

H.  2%  inches.  D.  8 inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


117  Vase  with  oval  melon-shaped  body,  high  neck  with  wide  flaring  mouth,  and 
low  foot  moulded  with  leaf  and  tongue  pattern.  On  the  neck  is  a reeded  band  of 
slender  leaf  and  tongue  pattern.  Translucent  white  porcelain  with  porous-look- 
ing body  and  pearly  white  glaze  faintly  browned  by  age. 

This  rare  and  singularly  beautiful  vase  recalls  both  Greek  and  Egyptian  pottery 
in  the  details  of  its  design. 

Corean : Korai  period. 

H.  101/4  inches.  D.  6 inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


118  Ewer  with  flattened  melon-shaped  body,  high  neck  contracted  in  the  middle, 
long  spout,  and  flat  handle  with  grooved  edges  and  a ring  at  the  top.  White  por- 
cellanous  ware  of  porous-looking  texture  with  thick  cream-white  glaze  of  Ting 
type,  slightly  crackled.  A wheel-made  ring  on  the  neck  below  the  lip.  Sand- 
marks  beneath. 

This  type  belongs  to  the  class  of  halm-gorai,  or  “white  Corean.” 

Corean : Korai  period. 

H.  8%  inches.  D.,  with  spout  and  handle,  5%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


119  Ritual  wine  ewer  of  bronze  form  with  globular  body,  tall  slender  neck  inter- 
rupted by  a wide  shelving  projection,  and  small  spout  broken  at  the  mouth.  Buff 
white  stoneware  with  wash  of  white  slip  stopping  short  of  the  base  and  cream 
white  glaze  minutely  crackled  and  lightly  browned  by  age. 

[102] 


No  140  No,  117 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

The  general  form  of  this  piece  is  Corean,  though  it  differs  from  the  usual  type  in 
small  details,  and  the  technique  of  the  ware  recalls  the  early  Chinese  white  pot- 
tery found  in  the  province  of  Shansi. 

H.  10%  inches.  D.  5%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

120  Bowl  with  small  foot  and  rounded  sides,  with  incised  lotus-flower  design  on 
the  exterior.  Buff  stoneware  with  minutely  crackled  brownish  yellow  glaze. 
Corean : Korai  period. 

H.  .3  inches.  D.  6%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

121  Bowl  of  shallow  conical  form  with  small  foot  and  wide  mouth,  and  a cup- 
shaped stand  with  wide  saucer-like  flange.  Grey  stoneware  with  chocolate  brown 
glaze  lightly  frosted  with  grey.  Sand-marks  under  the  base. 

Corean : Korai  period. 

H.  2%  inches.  D.  of  bowl,  6%  inches. 

Total  H.  31/4  inches:  Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

122  Bowl  with  deep  rounded  sides.  Dark  red  stoneware  with  a wash  of  white 
slip  and  a crackled  greenish  grey  glaze  much  pitted  and  browned  by  age  and  use. 
Incised  on  the  outside  with  two  belts  of  hatched  Vandyke  pattern,  across  which 
are  two  faint  bluish  bands. 

This  piece  has  been  preserved  in  Japan,  where  it  has  been  repaired  and  strength- 
ened with  gold  lacquer. 

Corean : probably  fifteenth  or  sixteenth  century. 

H.  3^  inches.  D.  6 inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

123  Bowl  of  shallow  form  with  wide  mouth  and  small  foot.  Dark  reddish  brown 
stoneware  coated  with  white  slip  and  engraved  with  Mishima  designs  exposing 
the  dark  body  under  a crackled  glaze  of  brownish  tone.  In  the  centre  is  a chrys- 
anthemum medallion  broken  on  one  side  by  what  seems  to  be  an  ideograph: 
round  this  are  plain  white  rings  and  a broad  belt  of  radiating  petal  pattern,  bor- 
dered by  a band  of  oblique  hatching  broken  by  four  straight  lines.  Two  incised 
rings  outside. 

This  is  not  an  excavated  piece. 

Corean : probably  fourteenth  century. 

H.  2%  inches.  D.  8i/4  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

124  Vase  of  ovoid  form  with  small  neck  and  shallow  cup-shaped  mouth.  Grey 
stoneware  painted  in  brown  under  a crackled  brownish  green  glaze.  On  the  sides 
is  a bold  foliage  scroll : gadroon  borders  on  shoulder  and  at  the  base.  Sand-marks 
underneath. 

This  painted  type  is  known  as  e-gorai,  or  painted  Corean. 

Corean : Korai  period. 

H.  10  inches.  D.  6 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

125  Vase  of  baluster  form  with  high  shoulders,  small  neck,  and  shallow  cup- 
shaped mouth.  Grey  stoneware  washed  with  chocolate  brown  slip  and  painted  in 
white  with  a chrysanthemum  scroll  under  a crackled  brownish  celadon  glaze. 
Sand-marks  underneath. 

Corean : Korai  period. 

H.  101/2  inches.  D.  6 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


126  Vase  of  baluster  form  with  high  shoulders,  small  neck,  and  shallow  cup- 
shaped mouth.  Grey  porcellanous  ware  burnt  red  at  the  base:  coated  with 
chocolate  brown  slip  and  painted  on  the  shoulders  with  two  large  sprays  of  taper- 
ing foliage  in  white  under  a brownish  celadon  glaze  which  is  frosted  by  decay  on 
the  upper  part. 

Corean : Korai  period. 

H.  13^^  inches.  D.  7l^  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

127  Wine  pot  with  oval  melon-shaped  body,  plain  handle  and  spout,  and  lotus- 
flower  lid.  Grey  porcellanous  ware  burnt  red  at  the  base:  smooth  grey-green 
celadon  glaze  lightly  frosted  with  brown. 

Corean : Korai  period. 

H.  5%  inches.  D.,  with  spout  and  handle,  7 inches.  Loaned  by  Mr.  John  Platt. 

128  Vase  of  baluster  form  with  high  shoulder  and  small  neck  with  shallow  cup- 
shaped mouth.  Grey  porcellanous  ware  burnt  red  at  the  base,  with  three  upright 
floral  designs  delicately  etched  under  a smooth  grey-green  celadon  glaze  of  bluish 
tint. 

Corean : Korai  period. 

H.  10%  inches.  D.  6%  inches.  Loaned  by  Mr.  John  Platt. 

129  Ritual  wine  ewer  of  bronze  form  with  ovoid  body,  tall  tapering  neck  inter- 
rupted by  a wide  shelving  projection,  short  rounded  spout  with  cup-shaped  mouth, 
and  pierced  attachment  for  a cover.  Grey  porcellanous  ware  washed  with  choco- 
late brown  and  inlaid  with  white  ornaments  under  a crackled  glaze  of  pale  grey- 
green  celadon.  The  main  decoration  consists  of  a number  of  lily  medallions,  and 
there  are  borders  of  key-fret  on  the  base  and  the  projecting  flange.  The  spout  is 
bordered  by  a petal  band,  and  on  the  upper  part  of  the  neck  are  four  upright 
bands  of  pearl  pendants.  Sand-marks  on  the  base. 

Corean : Korai  period. 

H.  13%  inches.  D.,  with  spout,  5%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

130  Vase  of  baluster  form  with  high  shoulders,  low  neck,  and  wide  mouth : on 
the  shoulders  are  four  loop-handles.  Grey  porcellanous  ware  with  ornament  in- 

nio43 


No.  146  No.  147  No.  126 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

laid  in  white  under  a grey-green  celadon  glaze  of  bluish  tinge  heavily  frosted  on 
one  side  by  decay : four  chrysanthemum  sprays  on  the  sides  and  a border  of  ju-i 
pattern  on  the  shoulder.  Sand-marks  under  the  base. 

Corean : Korai  period. 

H.  9%  inches.  D.  7%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

131  Wine  pot  with  ovoid  body,  grooved  handle  with  twig-shaped  ring  and  Greek 
palmette  attachment,  spout  with  lotus-leaf  moulding,  and  lotus-flower  cover. 
Grey  porcellanous  ware  with  soft  greenish  gray  celadon  glaze,  lightly  crackled. 
On  the  body  is  a bold  melon-vine  scroll  with  large  leaves,  small  blossoms  and 
tendrils  reserved  in  a chocolate  brown  ground : the  details  throughout  are  finely 
etched  in  the  paste.  The  cover  has  radiating  scrolls  inlaid  in  white.  Spur-marks 
beneath. 

Corean : Korai  period. 

H.  7 inches.  D.,  with  spout  and  handle,  8%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

132  Ritual  wine  ewer  of  bronze  form  with  ovoid  body,  tall  tapering  neck  inter- 
rupted by  a wide  shelving  projection,  short  spout  with  cup-shaped  mouth,  and 
ring  to  attach  the  cover.  Grey  porcellanous  ware  burnt  red  at  the  base,  with  slight 
inlaid  designs  in  black  and  white  under  a lightly  crackled  grey-green  celadon 
glaze.  On  one  side  is  a growing  plant;  on  the  other,  grass  or  ferns  in  a bowl  in- 
scribed hsiu  (jade) ; and  at  the  back,  two  storks  and  a cloud  scroll. 

Corean : Korai  period. 

H.  1314  inches.  D.,  with  spout,  5%  inches.  Loaned  by  Mr.  John  Platt. 

133  Wine  pot  with  oval  melon-shaped  body,  plain  spout,  grooved  handle  with 
twig-shaped  ring,  and  lotus-pattern  cover.  Grey  porcellanous  ware  with  inlaid 
ornament  in  white  and  black  under  a smooth  greenish  grey  glaze  of  bluish  tone. 
Lotus  and  chrysanthemum  designs  alternate  on  each  lobe:  below  is  a border  of 
carved  leaf  and  tongue  pattern,  and  on  the  shoulder  is  a band  of  petal  ornament 
inlaid. 

Corean : Korai  period. 

H.  8%  inches.  D.,  with  spout  and  handle,  814  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

134  Bottle  with  globular  body  and  tall  slender  neck  of  cylindrical  form  with  a 
ring  at  the  top.  Grey  porcellanous  ware  with  inlaid  ornament  in  white  and 
black  under  a greenish  grey  celadon  glaze  faintly  frosted  with  brown.  On  the 
sides  are  four  sprays  of  alternating  lotus  and  chrysanthemum;  on  the  shoulder  is 
a ju-i  border;  and  there  is  a narrow  band  of  key-fret  at  the  mouth  and  an  incised 
border  of  leaf  and  tongue  pattern  at  the  base. 

Corean.  Korai  period. 

H.  13  inches.  D.  614  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

nos: 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

135  Ritual  wine  ewer  of  bronze  form,  with  ovoid  body,  slender  neck  with  shelv- 
ing flange  projecting  at  the  top  (the  tapering  part  above  having  been  broken), 
small  spout  with  cup-shaped  mouth,  and  flat  cover  attached  by  a hinge.  Grey 
porcellanous  ware  with  ornament  inlaid  in  white  and  black  under  a waxen 
greenish  grey  celadon  glaze  of  bluish  tone.  On  the  sides  are  ducks  in  water  beside 
lotus  plants,  and  at  the  back  are  a willow  tree  and  two  cranes : borders  of  ju-i  pat- 
tern above  and  below,  and  a narrow  band  of  running  scroll-work  on  the  shoulder. 
On  the  neck  are  flying  cranes  and  fungus  sprays:  lotus-petal  band  on  the  flange. 
Chrysanthemum  designs  on  the  spout  and  its  cover. 

Corean : Korai  period. 

H.  10  inches.  D.,  with  spout,  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

136  Ewer  with  pear-shaped  body  slightly  flattened  on  the  shoulders  and  moulded 
in  shallow  vertical  lobes,  plain  spout,  and  grooved  handle  with  ring  to  attach  the 
cover.  The  latter  is  surmounted  by  a lotus  flower,  the  petals  modelled  in  full 
relief,  in  which  a bird  has  settled.  Grey  porcellanous  ware  with  crackled  grey- 
green  celadon  glaze  slightly  frosted  with  brown.  On  the  shoulders  are  lightly 
etched  floral  sprays.  Spur-marks  beneath. 

Corean : Korai  period. 

H.  10^  inches.  D.,  with  spout  and  handle,  7 inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

137  Vase  of  baluster  form  with  high  shoulders,  the  neck  replaced  by  metal.  Grey 
porcellanous  ware  burnt  brown  at  the  base,  with  ornament  inlaid  in  white  under 
a grey-green  celadon  glaze.  On  the  sides  is  a broad  band  of  Mishima  cord  pat- 
tern, bordered  by  small  rosettes.  Above  and  below  are  radiating  borders  of  over- 
lapping leaves  filled  in  with  white  lines.  The  base  is  heavily  sanded. 

This  is  not  an  excavated  piece. 

Corean : Korai  period. 

H.  10%  inches.  D.  6%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

138  Bottle,  pear-shaped,  with  slender  neck  and  metal  mouth.  Red  stoneware 
with  ornament  in  white  slip  under  a thick  wax-like  celadon  grey  glaze  heavily 
pitted  and  bubbled  and  flowing  in  drops  on  the  lower  part.  On  the  body,  designs 
of  large  floral  sprays  painted  in  white,  and  on  the  neck  a band  of  inlaid  Mishima 
cord  pattern. 

This  is  not  an  excavated  piece. 

Probably  Corean  of  the  fourteenth  century. 

H,  11  inches.  D.  7%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

139  Bottle  of  double  gourd  form  with  metal  stopper.  Grey  porcellanous  ware 
burnt  brown  at  the  base  and  inlaid  with  ornament  in  white  and  black  under  a 
crackled  greenish  grey  glaze.  On  the  body  are  four  medallions  framed  with  bor- 

C106] 


No.  no 


No.  135 


No.  131 


No,  136 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

ders  of  concentric  circles  and  enclosing  (1)  two  storks  on  a willow,  (2)  a stork  on 
a willow,  and  (3,  4)  clirj'santhenium  plants;  and  between  them  are  chrysanthe- 
mum plants,  below  is  a border  of  radiating  leaves,  and  above  is  a border  of  jii-i 
heads  and  a broad  band  of  overlapping  leaves  enclosing  concentric  circles : on  the 
neck  is  a band  powdered  with  small  blossoms  and  a border  of  radiating  leaves. 
This  is  not  an  excavated  piece, 

Corean : Korai  period. 

H.  14%  inches.  D.  7%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

140  Vase  of  oval  form  with  small  neck  and  low  cup-shaped  mouth.  Grey  por- 
cellanous  ware  of  tine  texture,  burnt  red  at  the  base  and  ornamented  with  a 
beautiful  carved  design  under  a soft  greenish  grey  celadon  glaze  of  bluish  tone: 
two  phoenixes  {feng  hiiang)  in  a peony  scroll  with  etched  details  covering  the 
entire  surface, 

Corean : Korai  period. 

H.  11  inches.  D.  7%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

141  Plaque  of  oblong  rectangular  form  with  chamfered  corners.  Thin  grey 
porcellanous  ware,  burnt  brown  where  unglazed  and  ornamented  with  black  and 
white  inlaid  designs  resembling  those  of  a book  cover.  Soft  greenish  grey  celadon 
glaze  of  bluish  tone.  In  the  centre  is  an  oblong  eight-foil  frame  inclosing  a peony 
scroll  with  white  blossoms.  This  is  surrounded  by  a stork  and  cloud  pattern  with 
a broad  border  of  running  lotus  scroll-work  with  narrow  interior  edging  of  small 
circles  and  an  outer  border  of  foliage  scrolls. 

Corean : Korai  period. 

L.  13%  inches.  B.  9 inches.  Loaned  by  Mr.  John  Platt. 

w 

142  Fish  bowl  with  curving  sides  contracted  at  the  mouth,  which  has  a short  up- 
right rim:  base  slightly  convex.  Grey  porcellanous  ware  burnt  red  where  un- 
glazed. Translucent  grey-green  celadon  glaze  with  a tinge  of  brown:  lightly 
crackled. 

Corean : early  Korai  period. 

H,  5%  inches.  D.  10%  inches.  Loaned  by  Mr.  John  Platt. 

143  Vase  of  baluster  form  with  high  shoulders  and  small  mouth  with  metal  band. 
Grey  stoneware  with  inlaid  designs  in  white  and  black  under  a crackled  brownish 
green  celadon  glaze,  partly  frosted  by  decay.  On  the  sides  are  two  willow  and 
two  palm  designs  much  conventionalised.  On  the  shoulder  is  a broad  band  of 
leaf  and  tongue  pattern  and  a border  of  ju-i  heads. 

Korean : Korai  period. 

H.  12%  inches.  D.  7 inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

nor] 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

144  Ewer  of  double  gourd  form  with  long  spout  and  twisted  handle  with  knot- 
shaped ring.  Grey  porcellanous  ware  burnt  red  at  the  base:  sparsely  crackled 
celadon  glaze  covering  lightly  incised  designs  of  lotus  flowers  on  each  side  and 
cloud-scrolls  on  the  neck. 

Corean:  Korai  period. 

H.  13  inches.  D.,  with  spout  and  handle,  9 inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


145  Vase  of  baluster  form  with  high  shoulders,  short  neck,  and  low  cup-shaped 
mouth.  Grey  porcellanous  ware  burnt  brown  on  the  base,  with  white  and  black 
inlaid  ornament  under  a crackled  greyish  green  glaze  frosted  in  places  by  decay. 
On  the  sides  are  storks  and  ling-chih  fungus  scrolls,  and  round  the  shoulder  is  a 
band  of  radiating  vine-leaves. 

Corean : Korai  period. 

H.  12  inches.  D.  7 inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


146  Bottle  with  pear-shaped  body,  tall  tapering  neck,  and  spreading  mouth. 
Grey  porcellaneous  ware  with  inlaid  ornament  in  white  and  hlack  under  a smooth 
greenish  grey  celadon  glaze  of  bluish  tone,  sparsely  crackled  and  frosted  in  places 
by  decay.  On  the  body  are  four  medallions  of  lotus  and  chrysanthemum  designs: 
between  them  are  pendants  of  small  circles  hanging  from  a band  of  similar  cir- 
cles, the  spaces  filled  with  chrysanthemum  sprays.  Below  is  a border  of  lotus 
petals,  and  above  a band  of  chrysanthemum  flowers.  On  the  neck  are  four  taper- 
ing scrolls  and  a wave  border. 

Corean:  Korai  period. 

H.  14  inches.  D.  8 inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection^ 

147  Vase  and  stand,  the  former  of  globular  form  with  short  straight  neck  and 
narrow  mouth.  Grey  porcellanous  ware  with  inlaid  ornament  in  white  and  hlack 
under  a partially  crackled  grey-green  celadon  glaze  lightly  frosted  with  hrown. 
On  the  sides  are  three  large  phoenixes  {feng  huang)  with  scrolled  tails  and  three 
peony  sprays  between.  Sand-marks  underneath.  The  stand  is  saucer-shaped, 
with  a raised  ring  in  which  the  vase  fits,  and  four  feet,  each  ornamented  with  a 
lion  mask. 

Corean : Korai  period. 

H.  8 inches.  D.  of  vase,  8%  inches.  Total  H.  11^/4  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

148  Vase  of  globular  form  with  short  neck  and  shallow  cup-shaped  mouth:  in- 
laid in  white  and  black  under  a grey-green  celadon  glaze.  On  the  sides  are  two 

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CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

rows  of  medallions  with  sprays  of  ling-chih  fungus  and  flying  storks;  on  the 
shoulder  is  a hroad  band  of  leaf  and  tongue  pattern  enclosing  rows  of  disks. 
Fitted  with  a white  porcelain  base. 

Corean : Korai  period. 

H.  8%  inches.  D.  9%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

149  Vase  of  baluster  form  with  high  shoulders,  short  neck,  and  shallow  cup- 
shaped mouth.  Grey  porcellanous  ware  burnt  red  at  the  base,  with  faintly  incised 
ornament  under  a smooth  greenish  grey  glaze  of  bluish  tone,  frosted  in  places 
by  decay.  Four  upright  lotus  designs  on  the  sides,  with  borders  of  cloud  scrolls 
above  and  below. 

Corean : Korai  period. 

H.  14%  inches.  D.  8V2  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

150  Jar  with  wide  ovoid  body,  short  neck  and  spreading  mouth.  Grey  stoneware 
burnt  red  at  the  base,  with  ornament  inlaid  in  white  under  a crackled  grey-green 
celadon  glaze  frosted  and  stained  with  brown.  On  the  sides,  a broad  band  of 
Mishima  rosette  pattern,  bordered  on  the  shoulder  by  a cable  pattern  between 
white  lines.  Broad  bands  of  radiating  leaf  pattern  above  and  below.  The  glaze 
in  places  has  swollen  in  large  bubbles. 

This  is  not  an  excavated  piece. 

Corean : Korai  period. 

H.  13V2  inches.  D.  13%  inches.  Loaned  by  Mr.  R.  H.  Williams. 


C109: 


JAPANESE 


The  descriptions  and  classification 
of  the  objects  of  Japanese  pottery 
exhibited  are  by  Dana  H.  Carroll. 


PREFATORY  NOTE 


JAPANESE  POTTERIES 

The  Japan  Society  of  New  York  invited  me  to  inspect  the  collection  of 
Japanese  pottery  derived  from  the  cabinets  of  a number  of  private 
collectors,  to  determine  the  character  and  authenticity  of  the  objects 
intended  for  a representative  exhibition.  Most  of  the  objects  were 
familiar  to  me  from  having  seen  them  in  the  collections  from  which 
they  were  taken.  I was  amazed,  however,  at  the  strength  and  value  of 
the  objects  when  brought  together  in  this  way.  The  main  purpose  of 
the  Society  was  to  bring  together  the  glazed  rather  than  the  decorated 
pieces.  The  rich  and  deep  glazes  of  Owari  and  Omi  are  shown  in  the 
Shino  and  Akatsu  Oribe  and  the  Shigaraki  bowl  and  jar.  Some  of  these 
pieces  are  unique,  as,  for  example,  the  old  Bizen  flower  jar  with  its 
splash  of  some  metallic  oxide  resembling  silver,  and  the  rich  reds  of 
Shigaraki;  and  the  bowl  of  Kintaro  of  Sado  is  far  above  the  usual  work 
of  this  potter. 

The  collection  is  of  great  interest  as  exhibiting  the  growing  apprecia- 
tion of  our  people  for  the  rich  and  wonderful  glazes  of  Japanese  pot- 
tery— pottery  in  its  truest  sense,  and  not  imitations  of  ivory,  wood, 
stone,  or  anything  else,  but  objects  made  of  plastic  clay.  Mr.  John  Bur- 
roughs, after  examining  the  collection  of  pottery  at  the  Boston  Museum 
of  Fine  Arts,  while  confessing  his  unfamiliarity  with  the  subject, 
almost  instantly  began  his  comments  by  stating  that  in  the  glazes  he 
saw  colours  of  the  refined  autumn  leaf ; they  reminded  him  also  of  the 
delicious  surface  of  the  inside  of  a nut-shell,  and  he  added  that  one 
might  pick  up  such  things  in  the  woods.  Others  have  referred  to  the 
personality  expressed  in  their  colour  and  contour.  Yet  few,  if  any, 
would  have  appreciated  such  a collection  thirty-five  years  ago,  when 
the  auction-rooms  were  filled  with  stuff  made  for  foreign  trade  and 


PREFATORY  NOTE 


repeatedly  marked  “Corean,”  and  with  gaudily  decorated  pieces  in  gold 
and  colour  supposed  to  represent  Satsuma.  In  other  words,  our  col- 
lectors are  now  appreciating  those  kinds  of  pottery  that  the  Japanese 
most  admire.  I may  add  that  many  years  ago,  when  I had  the  pleasure 
of  accompanying  my  artist  friends,  Vedder,  La  Farge,  Samuel  Colman, 
Abbey,  and  others,  through  the  Museum  collection,  they  immediately 
recognised  and  admired  those  pieces  that  the  Japanese  chajin  most 
adore. 

Edward  S.  Morse. 


For  full  information  with  regard  to  the  numerous  potteries  in  various 
provinces  of  Japan,  and  the  names  and  marks  of  potters  and  the 
characteristics  of  their  works,  the  Japan  Society  refers  to  the  authori- 
tative publication  by  the  Museum  of  Fine  Arts,  Boston,  of  the  “Cata- 
logue of  the  Morse  Collection  of  Japanese  Pottery,”  by  Edward  S. 
Morse,  Keeper  of  the  Japanese  Pottery.  Cambridge,  MCMI. 


JAPANESE 


1 Tall  Niiisei  tea  jar.  Elongated  cylindrical  form  with  a very  slightly  ovoidal 
contour.  Red-hrown  glaze  with  dark  drip-splashings  near  the  shoulder,  the  glaze 
ending  well  above  the  foot  in  thin,  precise  line,  in  a “clothes-pin”  straddle.  Im- 
pressed mark  of  Ninsei. 

H.  5%  inches.  Loaned  by  Mr.  Howard  Mansfield. 

2 Zeze  tea  jar.  Tsubogata  (ovoidal).  Brown  clay,  light  and  delicate,  coated 
with  a brilliant  glaze  of  copper-red  through  which  runs  a golden  lustre. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

3 Satsuma  tea  jar.  Hiyo-gata  (gourd  shape)  stoneware,  lightly  glazed  in  dark 
brown.  The  lip  is  a light  brown.  Over  the  rest  of  the  body  flows  a thick  transmu- 
tation glaze  revealing  tea-leaf  colour,  deep,  brilliant  black,  grey  white,  mahogany 
brown,  and  sundry  lesser  tintings  in  a minute  speckling, — the  glaze  of  dull  lustre 
except  over  the  brilliant  black. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

4 Bizen  tea  jar.  Globular  on  three  short  feet.  Lightly  glazed  in  tones  of  copper 
brown,  and  splashed  on  one  side  with  a thick  tea-leaf  glaze. 

Loaned  by  Mr.  Samuel  T.  Peters. 

5 Bizen  tea  jar.  A short  cylinder  of  thin  brownish  clay,  coated  with  a luminous 
brown  glaze  varying  from  a light  yellowish  brown  through  deeper  tones  to  a 
smoky  brown  that  is  almost  black. 

Loaned  by  Mr.  Samuel  T.  Peters. 

6 Tsushima  tea  jar.  Pink  clay;  decoration,  three  crest  medallions  in  white  and 
brown  glaze  over  the  creamy  pink  glaze  of  the  body  colour. 

Loaned  by  Mr.  Harold  G.  Henderson. 

7 Shidoro  tea  jar.  Karamono  shape;  reddish  clay,  coated  with  a thick,  warm 
pink  glaze. 

Loaned  by  Mr.  Howard  Mansfield. 

8 Shigaraki  tea  jar.  Ovoid  with  short  neck,  exhibiting  over  a glaze  of  copper- 
brown  one  of  brilliant  mirror-black;  the  shoulder  with  a soft  pearly  white  crackle 
glaze. 

Loaned  by  Mr.  Howard  Mansfield. 


[115] 


CHINESE,  GOREAN,  AND  JAPANESE  POTTERIES 

9 Takatori  tea  jar.  Cylindrical  with  ovoidal  ends;  two  rudimentary  handles  at 
shoulder.  Thin  glaze  of  rich  pumpkin  brown  and  squash  yellow,  splashed  with 
tawny  green  of  waxen  surface. 

Loaned  by  Mr.  Howard  Mansfield. 

10  Satsuma  tea  jar.  Cylindrical  with  flattened  shoulder;  the  body  showing 
hooped  markings  and  covered  with  a tea-leaf  glaze  of  unctuous  surface  splashed 
with  a greenish  brown. 

Loaned  by  Mr.  Howard  Mansfield. 

11  Iga  tea  jar.  Cylindrical.  Greyish-brown  clay,  thickly  coated  with  a brilliant 
glaze  of  rich,  mellow  colour, — a transparent  golden-brown  glaze  revealing  a 
crackled  glaze  beneath. 

Loaned  by  Mr.  Howard  Mansfield. 

12  Kyoto  tea  jar.  Cylindrical,  with  two  upright  rudimentary  handles  on  the  flat 
shoulder.  Dull  brown  and  luminous  copper-brown  glaze,  with  a decoration  of 
Fujiyama  in  snow  in  a pure  white  glaze. 

Loaned  by  Mr.  Howard  Mansfield. 

13  Mino  tea  jar.  Ovoidal  with  narrow  foot,  flat  shoulder,  and  embryonic  lip. 
Grey-brown  glaze,  covered  with  a black  glaze  of  mirror  quality  and  a tenuous, 
misty  grey. 

Loaned  by  Mr.  Howard  Mansfield. 

14  Koishi-Kawa  tea  jar  with  ivory  cover.  Slightly  ovoidal  contour;  putty-grey 
clay,  covered  with  a smooth,  lustrous  glaze  of  golden  brown,  with  sundry  varia- 
tions, and  delicately  splashed  with  hare’s-fur  and  a metallic  sheen. 

Loaned  by  Mr.  Howard  Mansfield. 

15  Izumo  tea  jar.  Ovoidal  with  a blunt  shoulder  and  abbreviated  neck.  Yellow- 
ish-grey clay  with  a “yellow  onyx”  glaze. 

Loaned  by  Mr.  Howard  Mansfield. 

16  Satsuma  tea  jar.  Cylindrical  with  flat  shoulder  and  narrow  mouth.  Glazed 
in  a ferruginous  brown  and  very  dark  green,  with  brilliant  splashings  of  black  and 
golden  brown  and  powdered  tea  green. 

H.  ^V2  inches.  Loaned  by  Mr.  Howard  Mansfield. 

17  Takatori  tea  jar.  Cylindrical  with  slight  expansion,  flat  shoulder,  and  well- 
defined  lip;  the  glaze  brown,  with  light  and  dark  splashings  in  waterfall  effect. 

Loaned  by  Mr.  Howard  Mansfield. 

18  Kinkozan  tea  jar.  Ovoidal  with  sloping  shoulder;  brilliant  copper-brown 
glaze  delicately  mottled,  and  with  a single  rich  splash  of  deeper  colour. 

Loaned  by  Mr.  Howard  Mansfield. 


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CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

19  Shigaraki  tea  jar.  Ovoid.  Yellowish-sandy  clay,  coated  with  a mirror-glaze 
of  pale  chestnut-brown  hue  with  slight  metallic  lustre. 

H.  5^/4  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

20  Yatsushiro  tea  jar.  Marutsubo  shape,  grey  pottery;  decoration  after  the 
Corean  Mishima,  with  a band  of  storks  around  the  shoulder,  carved,  and  filled 
with  white  enamel  on  the  grey  ground. 

Loaned  by  Mr.  Lindslej'^  Russell. 

21  Kaga  tea  bowl.  Suribachi  shape.  Sonorous  pottery,  delicately  turned.  Half 
the  brown  clay  is  lightly  glazed  in  a maple-sugar  hue,  the  other  half  is  glazed  in 
a dark  purplish-brown,  the  division  being  longitudinal. 

D.  4 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

22  Sado  tea  bowl.  Circular,  springing  in  broad  ovoidal  curve  from  a narrow 
circular  foot  and  recurving  gently  to  form  the  upper  portion.  Coated  with  a thin 
brown  glaze,  a thick,  dense,  ebony  black  overspreading  one  face  of  the  exterior 
and  coating  the  interior  of  the  opposite  side.  Under-body  has  the  deeplj^^  incised 
mark : Sashiu  Kintaro  tsukuru. 

D.  41/2  inches.  Loaned  by  Mr.  Howard  Mansfield. 

23  Riyoniu  tea  bowl.  Cylindrical  with  broad  mouth.  The  interior  of  rough, 
irregular  surface.  Covered  with  a brilliant,  bewildering  glaze  of  rose  and  olive 
and  bright  red,  delicately  crackled  and  opalescent.  On  the  yellow  clay  foot,  an 
impressed  mark  of  Raku. 

D.  41/2  inches.  Loaned  by  Mr.  Howard  Mansfield. 

24  Raku  tea  bowl.  Circular,  the  sides  of  ovoidal  contour : with  a saucer  bottom, 
on  a low  circular  foot.  Dark  reddish  pottery,  covered  with  a thick  silver-white 
glaze,  pitted  and  crackled,  and  having  an  all-pervading  mother-of-pearl  irides- 
cence. 

D.  4I/2  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

25  Raku  tea  bowl.  Reddish  pottery,  covered  with  a black  glaze  of  rich  and  bril- 
liant quality,  marked  by  dark  red  splashes  and  olive  brown  notes  and  revealing  a 
subdued,  elusive  metallic  iridescence. 

D.  5%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

26  Kenzan  tea  bowl.  Cylindrical  on  a short  circular  under-body  foot.  Dark  grey 
clay,  the  exterior  covered  with  a soft  grey-white  glaze,  with  splashes  of  a celadon 
grey,  the  latter  glaze  crackled  and  extending  over  the  under-surface  as  far  as  the 
foot.  Rim,  edge  of  bottom,  and  foot  glazed  in  a reddish  brown;  the  interior  in 
dark  grey,  finely  crackled.  Exterior  decorated  in  the  reddish  brown  and  a bluish 
black  with  plant  and  tree  forms,  and  bearing  several  characters  and  a seal-mark. 
Made  in  Iriya,  Yedo. 

D.  3%  inches.  Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

riirn 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

27  Seto  cup.  Cylindrical,  with  a substantial  foot  defined  by  a deep  groove. 
Coated  with  a soft  creamy  brown  and  grey  glaze  minutely  crackled.  The  bowl  is 
decorated  with  under-glazes  of  light  green,  pale  blue,  and  haricot  rouge,  distrib- 
uted in  plant  form  in  two  groups.  Perhaps  Genpin. 

H.  4 inches.  Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

28  Red  Karatsu  tea  bowl.  Circular,  expanding  with  gently  swelling  sides,  slightly 
spreading  toward  the  rim,  from  a circular  foot.  Blackish  brown  clay;  the  glaze 
outside  a pale  but  bright  flame  red,  and  on  the  interior  taking  a deeper  hue  and 
modified  near  the  centre  by  fine  striations  and  a flat  tone  through  which  they 
course.  The  rim  is  glazed  in  brown,  which  affects  the  contiguous  red  on  both 
surfaces  by  stray  mottlings. 

D.  51/4  inches.  Loaned  by  Mr,  Samuel  Colman. 

29  Shidoro  tea  bowl.  Hira  Chawan  (low  shape) ; reddish  clay,  glazed  in  copper 
red  and  golden  yellow.  Double  coating. 

Loaned  by  Mr.  Harold  G.  Henderson. 

30  Shidoro  tea  bowl.  Grey  potteiy,  glazed  with  a soft  deer-skin  yellow.  Im- 
pressed mark,  Shidoro. 

Loaned  by  Mr.  Howard  Mansfield. 

31  Satsuma  tea  bowl.  Red  brown-stone  clay  coated  with  chocolate  brown  and  a 
powdered  tea  running  glaze. 

Loaned  by  Mr.  Harold  G.  Henderson. 

32  Soma  tea  bowl.  Plum-flower  shape;  grey-stone  pottery,  coated  with  a creamy 

white  glaze,  the  interior  showing  a pair  of  running  horses  painted  in  blue  under 
a celadon  glaze.  Marked  Kinjiu.  Loaned  by  Mr.  Howard  Mansfield. 

33  Yeiraku  tea  bowl.  Grey-brown  clay,  coated  with  a light  creamy  grey  glaze, 

and  painted  on  two  faces  with  a Japanese  poem  in  a grey  black.  Seal-mark  of 
Kahin  Shiriii.  Loaned  by  Mr.  Howard  Mansfield. 

34  Ninsei  tea  bowl.  Circular,  indented  with  a single  thumb-mark  beneath  the 
rim;  contracting  to  a deep  and  slightly  spreading  foot.  Exterior  painting,  in  iron- 
rust  brown  and  black  glaze  under  the  surface  glaze,  of  a farm-house  represented 
as  under  the  snow,  with  impressionistic  landscape  and  clouds.  Marked  Ninsei. 

Loaned  by  Mr.  Samuel  T.  Peters. 

35  Decorated  Satsuma  tea  bowl.  Semi-globular  or  inverted  cap  shape,  on  a cir- 

cular solid  foot  which  is  cross-grooved,  forming  four  feet.  The  exterior  is  deco- 
rated with  “floating  fans,”  in  allusion  to  the  story  of  an  ancient  artist  who,  when 
he  failed  to  sell  the  fans  he  painted,  threw  them  from  a bridge  into  the  water. 
The  fans  are  variously  decorated.  Loaned  by  Mr.  Samuel  T.  Peters. 


D18] 


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CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

36  Mokubei  tea  bowl.  Ovoidal,  springing  from  a short  circular  foot;  deep  form. 
Light  porcellanous  ware,  the  greater  part  of  the  exterior  covered  by  a rich  ebony- 
black  glaze  of  shagreen  surface  and  dull  metallic  or  raven’s- wing  lustre.  Decora- 
tion : a diamond  band  in  gold  and  oxidized  silver,  outlined  in  pale  green  and  deep 
vermilion,  with  a lightly  embossed  ornamentation  of  leafage  and  a bolder  detail 
of  white  chrysanthemums  in  tangible  relief.  Inscription  underneath  the  foot,  by 
Mokubei,  in  style  of  Ninsei. 

Loaned  by  Mr.  Samuel  T.  Peters. 

37  Oribe  tea  bowl.  Circular,  irregularly  flattened,  rising  in  broad  inverted  cone 
shape  from  a low  circular  foot  and  moulded  in  three  bands.  Resonant  pottery 
coated  with  a minutely  crackled  dull  grey-white  glaze  on  both  exterior  and  in- 
terior, the  exterior  splashed  heavily  with  a dark  chocolate  brown  and  iron-rust 
red,  and  broadly  in  olive  3^ellow  and  griseous  hues  and  copper  brown;  and  there 
appear  further  a few  eccentric  forms  in  dark  neutral  tones  lightly  applied. 

Loaned  by  Mr.  Samuel  Colman. 

38  Yatsushiro  tea  howl.  In  the  shape  of  the  Japanese  rice  bag,  on  a deep  foot. 
Luminous  glaze  in  various  tones  of  brown  with  brownish  green,  and  crackled.  On 
either  side  of  the  exterior,  a Greek  cross  surrounded  by  a fillet,  cross  and  fillet 
glazed  in  white  and  etched,  and  at  the  ends  the  “puckerings”  of  the  bag  indicated 
by  etched  ragged  lines  glazed  in  white. 

Loaned  by  a collector. 

39  Owari  bowl.  Circular  and  shallow,  spreading  from  a deep  foot  and  bending 
quickly  upward.  Dark  brown  heavy  clay,  carrying  on  the  outside  a floral  decora- 
tion and  a primitive  scroll  border,  incised,  and  covered  with  a greenish  grey  glaze 
erratically  crackled.  Interior  of  the  bottom  is  a “pond”  of  deep  transparent  glaze 
of  pale  emerald  hue,  boldly  crackled. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

40  Shino  tea  bowl.  “Rice  bag”  shape.  Hard  dark  grey  pottery,  coated  with  sil- 
very white  with  rose  tints  of  cloud  effect.  Ornamented  cross  on  both  sides. 

Loaned  by  a collector. 

41  Shidoro  sake  bottle.  Twisted  shape,  the  lower  part  ovoidal,  with  a flat  foot. 

Sandy  red  clay,  glazed  in  the  deep  and  soft  rich  green  of  wood  moss,  lustrous  of 
surface  and  showing  a delicate  crackle;  in  places  clouded  in  a dull  gun-metal  hue. 
H.  714  inches.  Loaned  by  a collector. 

42  Shigaraki  sake  bottle.  Colossal  pine-cone  shape,  the  outline  recurving  at  the 
short  contracted  neck,  which  flares  briefly  and  finishes  in  a slightly  thickened  and 
rounded  lip.  Light  grey  clay,  with  a chromatic  coat  of  varied  richness, — a lustrous 
and  crackled  splash-glaze  displaying  pale  turquoise,  yellow  olive,  lavender  pink, 
pale  rose,  yellow  brown,  and  a bright  red,  with  a metallic  lustre. 

H.  8%  inches.  Loaned  by  a collector. 


[119] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

43  Seto  bottle.  Ovoidal  or  pear-shaped  body,  the  slightly  elongated  neck  having 
a single  bulbous  expansion,  the  narrow  mouth  a metal  lip.  Light  yellowish-brown 
clay,  coated  with  a luminous  glaze  of  rich  mahogany  brown,  dappled  with  old 
gold,  and  further  streaked  with  numerous  meteoric  descendant  flashes  in  lighter 
tone — the  hotariibi,  or  “firefly”  motive. 

H.  7%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

44  Seto  sake  bottle.  Double-gourd  shape  with  short  neck  and  curled  lip.  Bril- 
liant, mellow  glaze  of  rich  seal,  mahogany,  and  golden  browns,  iron-rust  and  lus- 
trous black,  with  a generous  lighter  streaking  of  pale  olive  yellows  crackled  in 
strong,  dark  lines. 

H.  7%  inches.  Loaned  by  Mr.  Howard  Mansfield. 

45  Bizen  sake  bottle.  Pear  shape,  gracefully  contracting  to  a slender,  tapering 
neck  with  a lightly  defined  lip;  flat  foot.  Glazed  in  a dead-leaf  brown  of  varying 
hue,  occasionally  blackening,  with  a shiny,  moist  surface,  and  pitted  as  with  mould 
which  has  penetrated  the  leaf  texture.  Known  sometimes  among  the  Japanese  as 
“the  wet  glaze” — looking  always  v/et.  Splashed  and  dripping  on  one  face  with  a 
rich  black,  golden  brown  and  fawn. 

H.  9 inches.  Loaned  by  a collector. 

46  Kyoto  sake  bottle.  Light,  thin,  grey  earthenware,  with  broadly  sloping  shoul- 
der and  slender  tubular  neck.  The  sides  of  the  body  and  the  outer  shoulder  are 
glazed  in  a light  grey,  with  crackle;  the  upper  shoulder  and  neck  in  a dark  cafe- 
aii-lait,  crackled  in  darker  brown  lines.  The  body  is  encircled  by  a narrow  band 
of  scrolling  foliations,  painted  in  brown. 

H.  7%  inches.  D.  6 inches.  Loaned  by  a collector. 

47  Higo  sake  bottle.  Tall,  quadrilateral,  with  flat  foot  and  square  flat  shoulder. 
Stoneware  with  an  interesting  variety  of  glaze  colour.  Two  of  the  faces  are  cov- 
ered with  a rich  seal-brov/n  glaze,  oversplashed  with  sandy  brown,  putty-grey  and 
green  and  white  glazes,  in  a fluent  melange  dripping  from  the  neck  and  shoulder, 
where  these  glazes  are  supreme  and  where  they  are  further  mingled  with  a fluid 
turquoise  green.  On  the  two  other  sides  this  greyish  green,  interspersed  with  olive 
yellow,  brown,  blue,  and  purple  in  an  incipient  flambe  effect,  distributes  itself 
liberally  in  trickling  splashes  over  a rich  grey,  luminous  ground  which  is  marked 
by  amexcursive  hair-line  crackle. 

H.  10  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

48  Ye-Karatsu  sake  bottle.  Hexagonal  with  flat  foot.  Heavy  porcellanous 
stoneware  with  a ringing  resonance,  three  of  the  faces  carrying  on  and  above  the 
base  a leaf-and-branch  decoration  in  white  glaze,  crackled,  over  which  is  a gen- 
eral speckled  brown  glaze, — this  in  turn  being  splashed  with  a green  and  tawny 
iridescent  crackled  glaze  which  is  traced  as  high  as  the  neck.  The  neck  itself  has 
a rich  dark  brown  glaze,  iridescent  and  pitted. 

H.  11%  inches. 


C1203 


Loaned  by  a collector. 


d 


- ' ■«; 


No.  54 


No.  55 


No.  61 


NO.  85 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

49  Oribe  sake  bottle.  Quadrilateral  with  rounded  corners  and  short  narrow 
neck;  greyish  brown,  heavy  clay.  The  glaze  is  a beautiful  one,  luminous,  and 
having  a hold  crackle  and  a delicate  metallic  lustre,  and  reflecting  rich  greens  of 
the  depths  of  the  forest,  moss,  emerald,  and  olive  notes,  warm  but  subdued  brown 
3^ellows,  and  deep  seal-brown. 

H.  7%  inches.  D.  614  inches,.  Loaned  by  a collector. 

50  Orihe  sake  bottle.  Square  body  with  tube  neck.  The  clay  is  a grey  brown  and 
is  covered  with  a thin  glaze  of  iron-rust  red,  over  which  is  flowed  a heavier  glaze, 
rich  and  lustrous,  in  tones  of  olive  green  and  yellow,  and  moss  green,  mottled  with 
brown  and  black. 

H.  131/2  inches.  Loaned  by  a collector. 

51  Onohara-Tamba  bottle.  Full-bodied  pear-shape  with  slightly  indrawn  foot 
and  tall  tubular  neck  gently  tapering.  Vibrant  pottery;  the  whole  coated  with  a 
mirror-glaze,  black,  with  certain  iron-rust  shadings  and  yellow-brown  mottlings, 
and  a glov/ing  lustre  in  fleeting  sunset  and  fused  metallic  hues. 

H.  12  inches.  Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

52  Tail  Karatsu  hottle.  Elongated  pear-shape  with  a circular  foot;  tapering  to  a 
high  and  short  slender  neck.  Reddish-brown  clay  glazed  in  a dark  grey  with  fish- 
roe  crackle,  and  in  a hroad  hand  of  grey-white  mottled  or  splashed  with  cafe-au- 
lait  and  also  crackled.  Carved  with  plants,  leaves,  flowers,  and  fruit,  the  incisions 
glazed  in  a hrown-black  of  matt  surface  and  wholly  interrupting  the  white  and 
tinted  glazes.  Above,  a lesser  band  of  scrolling  foliations,  incised  and  glazed  in 
black  on  a cafe-aii-lait  crackle  ground, — in  this  band  a surface  glaze  covering  the 
hlack. 

H.  1314  inches.  Loaned  by  Mr.  Samuel  Colman. 

53  Banko  water  jar  and  cover.  Broad,  squat  barrel  shape.  Disc  cover  sur- 
mounted by  two  prostrate  pine-cones.  Earth-brown  pottery  with  crumpled  sur- 
face glazed  in  a rich  dark  chestnut-brown.  Around  the  body  three  detached 
spraj^s  of  Aoi  leaves  in  relief. 

H.  6 inches.  D.  5^4  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

54  Oribe  water  jar.  Tsurube  shape  (well  bucket).  Brownish-yellow  clay  with- 
out resonance,  glazed  in  cafe-au-lait  with  chocolate-brown  crackle.  The  exterior 
is  additionally  glazed,  in  a more  or  less  fused  overflow  from  the  flat  brim,  with  a 
commingling  of  blue,  purple  and  black,  turquoise  and  camellia-leaf  green,  yel- 
lowish-brown, olive  and  aubergine, — the  colours  being  repeated  on  the  handle; 
and  each  of  the  sides  is  further  painted  in  two  shades  of  brown  glaze  with  a figure 
roughly  resembling  the  half  of  a pilot  wheel — “Yodo-no-kawase-no-nuzuguruma” 
(the  famous  Water  Mill  of  Yodo). 

H.  6%  inches.  D.  7%  inches.  Loaned  by  a collector. 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

55  Iga  water  jar.  In  the  form  and  fashioned  in  representation  of  a cone-shaped 
basket,  with  a brown  lacquer  cover.  Glazed  in  white,  light  and  dark  yellow  and 
brown,  in  imitation  of  a basket  long  in  use, — the  rim  a dark  green. 

H.  7^2  inches.  Loaned  by  a collector. 

56  Kenzan  water  jar  with  original  cover.  Cylindrical,  the  cover  flat  and  inset. 
Yellowish  grey  clay,  covered  with  a fused  and  delectable  glaze  of  greys  and  whites 
and  blues  and  browns.  Decoration:  landscapes  and  boats  with  figures,  in  white 
and  rich  seal-brown  and  brownish  yellow.  Base,  shoulder,  and  cover  have  mean- 
der and  hatch  borders.  Grey  crackled  glaze  under  the  foot,  with  Kenzan  signature 
in  blue-black. 

H.  6 inches.  Loaned  by  Mr.  Howard  Mansfield. 

57  Shuntai  water  jar  with  cover.  Cylindrical.  Yellowish  grey  clay,  with  a vari- 
able grey  crackled  glaze  copiously  splashed  with  brilliant  green  of  emerald,  moss 
and  leafage  notes,  and  displaying  delicate  fouette  splashings  of  lavender-rose,  and 
sweeping  pencillings  of  swaying  vegetation  in  brown. 

H.  6^2  inches.  D.  5%  inches.  Loaned  by  Mr.  Howard  Mansfield. 

58  Seto  water  jar.  Circular  and  deep,  with  straight  sides,  the  base  a circle  and 
the  mouth  oval, — the  brim  in  both  dimensions  slightly  exceeding  the  base.  Sono- 
rous pottery,  coated  with  a brilliant,  rich  and  mellow,  crackled  glaze,  in  tones  of 
olive  yellow,  mahogany  brown  and  red,  and  copper  brown,  with  a bright  metallic 
lustre  and  fugitive  iridescence.  Black  lacquer  cover. 

Height,  6%  inches.  D.  at  base,  6 inches;  at  brim,  7 inches  and  8 inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

59  Zeze  water  jar.  Grey  earthenware,  Hashi  or  “diamond  shape.”  Glazed  in  a 
rich  reddish  brown,  mottled  on  one  side  by  a brilliant  black  in  a souffle  effect,  and 
overflowed  from  the  rim  by  a thick,  abundant  glaze  of  tawny,  or  light  deer-skin 
hue,  mottled  with  the  body  colour  and  exhibiting  dark  vermilion  splashings.  The 
same  glazes  appear  in  the  interior  with  equal  brilliancy. 

H.  5%  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

60  Shigaraki  water  jar  with  original  cover.  Of  “diamond  shape”  with  the  angles 

rounded.  Greyish  porcellanous  stoneware  clothed  in  a cream-white  glaze  which 
covers  both  exterior  and  interior  and  is  marked  by  a bold  irregular  mosaic  crackle. 
H.  61/4  inches.  D.  71/2  inches  and  8%  inches.  Loaned  by  Mrs.  J.  A.  Logan. 

61  Iga  water  jar  with  cover.  Bulbous,  in  the  form  of  a four-lobed  melon,  nar- 
rowing toward  the  top,  the  lobes  separated  by  quadrilateral  buttresses,  which  rise 
briefly  in  a bevel  above  the  brim,  their  projections  below  the  base  forming  short 
heavy  feet.  Heavy  porcellanous  stoneware,  the  lobes  marked  by  fine  transverse 

i:i22n 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

hatchings,  the  buttresses  by  a coarser  longitudinal  hatch  which  is  carried  over  on 
either  side  to  an  adjoining  strip  of  each  lobe.  The  first  thin  glaze  of  pinkish 
brown  is  overlaid  with  a crackled  grey-white  splash,  in  places  thick  and  rough, 
which  mingles  with  a deep  smoky  grey  and  a tawny  yellow,  the  white  drip  occa- 
sionally ending  in  a thick  drop  of  pale  or  deep  green. 

H.  8 inches.  Loaned  by  Mr.  Samuel  Colman. 

62  Satsuma  bottle.  In  the  double-gourd  form  with  flat  foot  and  short  straight 
neck.  Warm  yellow  glaze,  with  a black  spotted  splash  (so-called  firefly  effect). 

■ Loaned  by  Mr.  Samuel  T.  Peters. 

63  Raku  koro.  Melon  shape  and  bound  by  knotted  cord;  reddish  pottery,  coated 
with  a soft  pink,  warm  glaze,  with  large  crackle. 

Loaned  by  Mr.  Harold  G.  Henderson. 

64  Decorated  Kyoto  koro  with  cover.  Oblong  on  four  corner  feet.  Thin,  delicate, 
light  brown  pottery,  almost  as  light  in  weight  as  semi-eggshell  porcelain,  deco- 
rated with  various  flowers,  trees,  rocks,  and  the  entrance  to  a tea-house,  in  pale 
blue,  green,  and  dark  red,  on  a light  yellowish  grey  ground, — all  in  glaze,  with 
gilded  blossoms  interspersed.  On  the  shoulder  a border  of  the  key-fret  in  blue, 
with  gilding,  interrupted  at  each  of  the  corners  by  a pierced  blossom.  On  the 
cover,  which  has  two  larger  pierced  blossom  forms,  and  floral  ornamentation  in 
blue  glaze  and  gilding,  a phoenix,  standing,  is  modelled  in  the  round. 

H.  1^2  inches.  Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

65  Kenzan  hibachi  (fire  bowl).  Square,  or  a “hollow  cube,”  resting  flat,  the  foot 
or  bottom  recessed  underneath.  Putty-coloured  clay  of  porcellanous  character, 
heavy  but  not  thick.  Covered  with  a pearl-white  glaze  that  near  the  tops  of  the 
sides  shows  a fine  crackle,  and  painted  in  a thin  brown  glaze  with  entanglements 
of  trees  on  three  sides,  and  on  the  fourth  with  a long  inscription  and  two  seal- 
marks.  Made  in  Iriya,  Yedo. 

H.  3%  inches;  4 inches  square. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

66  Fire-pot.  Kenzan.  Hexagonal,  resting  flat,  the  bottom  underneath  recessed. 
Light  grey  clay,  the  sides  glazed  in  a cream  white  with  a pale  cafc-au-lait  crackle, 
the  brim  in  a blackish  brown  which  is  also  used  for  the  decoration,  consisting  of 
fantastically  distorted  trees,  and  an  inscription.  The  crackled  glaze  overflows  the 
upper  portion  of  the  interior.  Under  the  foot  is  a mark  in  brown  within  a double 
square.  Made  in  Iriya,  Yedo. 

H.  4 inches.  D.  4^/4  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

67  Banko  tripod  koro.  The  body,  of  globular  form,  takes  an  ovoidal  curvature 
contracting  to  three  short,  rounded  stump-feet.  Pierced  at  the  shoulder  on  one 
side  with  a large  ovate  opening,  its  raised  outline  foliated,  and  on  the  other  with 

D283 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

a small  elliptical  aperture.  Round  mouth  fitted  with  a flat  ivory  cover  having  a 
miniature  silver  knob-handle.  A rich  old-ivory  glaze  covers  the  entire  jar,  mel- 
lowing to  a soft  yellow  and  brown,  again  presenting  a rosy  suggestion  in  its  ripe- 
ness, here  warmly  mottled,  there  lightening  mildly  toward  a grey,  and  everywhere 
minutely  crackled.  Impressed  mark  under  one  of  the  feet. 

H.  5%  inches.  D.  6^  inches.  Loaned  by  a collector. 

68  Mizoro  chojiburo  (clove-boiler)  with  silver  kettle.  Light  grey  clay  glazed 
in  a pale  brownish  hue,  with  fine  crackle;  decorated  in  deep  cobalt  blue  and  light 
green  over-glaze,  and  gilding,  with  sprays  of  hagi  flowers. 

H.  6%  inches.  Depth  of  kettle,  4 inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

69  Bizen  jar.  In  ovoid  form  with  full  shoulder  on  which  are  four  small  upright 
loops;  short  neck  and  flat  foot.  Thin  clay  covered  with  a thin  dark  brown  glaze, 
the  shoulder  covered  with  a heavier  glaze  of  brownish  black  through  which  runs 
a generous  tawny  mottling, — this  glaze  allowed  to  trickle  irregularly  down  the 
sides,  where  the  tawny  hue  makes  strong  contrast  with  the  under-glaze.  Incised 
mark  under  the  foot. 

H.  4Y2  inches.  Loaned  by  a collector. 

70  Shunkozan  jar.  Broad,  inverted  pear  shape,  with  short  wide  neck;  sonorous 
pottery.  Metallic  lustre,  and  on  one  face  of  the  shoulder  a cloud  of  grey- white 
crackle  glaze.  Impressed  mark  under  the  foot. 

H.  6 inches.  Loaned  by  Mr.  Howard  Mansfield. 

71  Shigaraki  jar.  Ovoid  with  a flat  unglazed  foot,  high  shoulder,  short  wide 
neck,  and  thickened  rounded  lip.  Coarse  grey  clay  of  rough  surface.  The  glaze 
is  an  opaque  pale  sage-green,  crackled  and  with  a brilliant  lustre,  one  face  of  the 
jar  being  left  undisturbed  in  this  glaze,  except  that  the  neck  above  it  shows  a strip 
of  grey  glaze,  also  crackled;  the  body  elsewhere  is  curiously  splashed,  with  the 
seeming  carelessness  of  a remarkable  precision,  in  representation  of  a raging  fire 
in  the  fields, — the  varying  reds  blended  with  smoke  and  exhibiting  a fiery  metallic 
lustre. 

H.  7 inches.  Loaned  by  a collector. 

72  Shigaraki  jar.  Ovoid,  the  clay  grey  and  of  porcellanous  resonance,  its  cover- 

ing glaze  a mirror-black  of  great  brilliancy  with  a lustre  of  rainbow  iridescence. 
H.  SYz  inches.  Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

73  Shigaraki  jar.  Ovoid  with  flat  foot,  short  cylindrical  neck,  and  full  lip.  Cov- 
ered with  a glaze  of  pale  tomato-red,  with  patches  of  more  intense  colour,  some 
of  which  are  characterised  by  a bright  metallic  lustre,  while  a part  of  the  shoulder, 
neck  and  lip  show  a sort  of  fouette  splashing  of  grey  glaze  with  incipient  verdigris 
fleckings. 

H.  7%  inches.  Loaned  by  Mr.  Samuel  Colman. 


1:1243 


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No.  75 


No.  76 


No.  60 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

74  Iga  jar.  Three  looped  handles  in  double;  hard  clay.  Dark  brown  glaze  with 
splash  of  golden  amber. 

Loaned  by  Mr.  Harold  G.  Henderson. 


75  Shino-Oribe  hand-warmer.  Daruma  shape.  Thick,  heavy  pottery  of  a slate- 
grey  hue,  glazed  in  a rich  and  brilliant  chromatic  splash  with  pearl  grey,  turquoise 
green,  deep  red,  white,  and  brownish  cream,  all  the  glazes  crackled, — here  and 
there  a streak  of  lustrous,  evanescent  metallic  sheen, — supplemented  by  hatch  and 
pencillings  in  black. 

H.  8V2  inches.  D.  9^2  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

76  Shino-Oribe  hibachi  (lire  bowl).  Low,  squat  lobar  body,  with  metal-bound 
mouth;  on  three  rudimentary  feet.  Greyish-brown  stoneware,  the  bulbous  lobes 
glazed  in  a grey-white  with  brownish  tinge  and  crackled.  An  overlap  displays  a 
wealth  of  brilliant  colour  in  deep,  rich  notes  of  red,  blue  and  green,  variously  in- 
termingled, emphasised  and  softened,  revealing  numerous  tints,  hues  and  shad- 
ings, and  crackle,  and  carries  a line  of  bosses  over  which  the  glazes  thin  out  some- 
what, parting  with  some  of  their  colour  and  adding  to  the  prominence  of  this 
studding. 

H.  614  inches.  D.  12  inches.  Loaned  by  a collector. 

77  Shigaraki  hibachi  (fire  bowl).  A globular  jar  on  three  button-feet;  wide 
mouth.  The  shape  and  colouration  originated  in  ancient  days  in  a Japanese  fancy 
to  imitate  or  represent  the  form  and  colour  of  a bonbon  taken  to  Nippon  by  the 
Dutch.  The  glaze  is  in  broad  splashes  of  grey  white,  pearl  grey  and  grey  blue,  in 
various  shadings,  and  particularly  in  the  shu,  or  brilliant  sealing-wax  red,  the 
grey  and  the  white  glazes  having  a bold  crackle. 

H.  7%  inches.  D.  914  inches.  Loaned  by  a collector. 


78  Tsushima  water  jar.  Ovoidal,  expanding  freely  from  a deep  circular  foot. 
Reddish-brown  clay,  the  exterior  surface  surrounded  by  a sequence  of  wavy 
longitudinal  incised  lines,  divided  into  four  series  by  latitudinal  incisions.  Over 
this  is  flowed  a white  enamel  glaze,  which  is  a deep  white  in  the  incisions  and 
where  thin  takes  a pink  tone  from  the  ground  colour. 

H.  714  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

79  Shino-Oribe  tripod  flower  dish  in  teakwood  stand.  Shallow  form;  brown  clay. 
Brilliant  crackle  glaze  of  glowing  red,  fused  with  a soft,  captivating,  pale  mala- 
chite-green, with  baffling  turquoise  suggestions. 

H.  514  inches.  D.  1014  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


80  Kenzan  cake  tray.  Square  and  shallow.  Pottery  of  porcellanous  consistency, 
the  interior  glazed  in  a grey  and  cloudy  white,  lightly  crackled,  over  a glaze  deco- 
ration in  yellow,  red,  pale  blue,  bright  green,  brown,  and  a touch  of  mauve,  pic- 


c:i25] 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

turing  a waterside  with  trees  and  grasses  and  a web-footed  bird  on  the  shore. 
The  rim  and  lower  edges  of  the  sides  are  glazed  in  a brown  black,  the  interior 
with  some  pale  blue  washes  and  a long  inscription  which  occupies  almost  the 
whole  surface  of  the  bottom.  Made  in  Iriya,  Yedo. 

Six  and  one-half  inches  square. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

81  Oribe  water  bowl.  Flower  shape;  grey  pottery.  Both  exterior  and  interior 
have  a thin  glaze,  lightly  crackled,  of  dark  grey-brown,  covered  with  a thick  shu 
(sealing-wax  red)  glaze,  also  crackled. 

H.  4 inches.  D.  8%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

82  Shigaraki  bowl.  In  the  crumpled,  indented,  eccentric  formation  of  a tree 
fungus,  modelled  on  three  rudimentary  feet,  the  exterior  surfaces  rough  and  grey 
and  crinkled  in  representation  of  the  texture  of  the  fungus,  and  in  different  places 
showing  grey  white  as  of  mould,  dull  red,  and  grey  blue;  elsewhere  a polished 
black  mottled  with  a brownish  white,  and  again  red  and  turquoise  green.  The 
interior  is  splashed  with  the  same  glazes  in  greater  expanse,  and  often  crackled, 
and  most  conspicuous  among  them  here  is  the  Japanese  shu  colour,  or  “sealing- 
wax  red.” 

D.  8 inches.  Loaned  by  a collector. 

83  Ofuke  bowl.  Bell-flower  shape,  covered  with  a thin  red-brown  glaze,  after 
which  there  comes  a veritable  abundance  of  decoration  in  glaze  colour.  On  the 
outside  a cafe-au-lait  glaze  of  creamy  quality,  crackled  in  dark  brown,  is  over- 
spread with  a rich,  mottled  seal-brown,  which  in  turn  bears  plentiful  and  varie- 
gated trickling  splashes.  The  interior  displays  a mingling  of  splashed  glazes,  and 
besides  a close  crackle  shows  a larger  one  of  erratic  ramifications.  In  the  bottom 
of  the  interior  the  glazes  have  been  allowed  to  form  a small  pond  or  puddle. 

H.  41/4  inches.  D.  10%  inches.  Loaned  by  a collector. 

84  Oribe  vase,  with  a short  neck  and  bulbous  shoulder,  and  an  upright  loop  han- 
dle. Mystical,  multicoloured  glaze,  in  fleckings  and  splashes  of  purple  red, 
mauve,  deep  rose,  and  dark  green. 

H.  8 inches.  Loaned  by  Mr.  Howard  Mansfield. 

85  Bizen  vase.  Tsuzumi-shape,  with  elephant-head  hook  handles,  and  exhibiting 
rich  blacks  and  lustrous  mahogany  tones  of  a soft,  enticing  gold  and  silver  iri- 
descence. The  curious  surface  has  in  places  the  appearance  of  the  mottled  patina 
and  lucent  incrustations  attaching  to  bronzes  inhumed  not  too  long  and  subse- 
quently freely  handled  and  caressed.  On  the  foot  an  impressed  mark  within  an 
incised  circle. 

H.  8 inches.  Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

[126] 


I,. 


No  93  No  94 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

86  Imari  vase.  Baluster  shape  on  a circular  foot,  with  sloping  shoulder,  short 
neck,  and  inverted  lip.  Light  pottery  covered  with  a mingled  grey-white  and 
brown  crackled  glaze;  the  body  showing  a delicate  lacquer  repair  in  tones  of 
oxidized  silver  with  the  surface  of  ancient  metallic  mirrors. 

H.  11  inches.  Loaned  by  Mr.  Howard  Mansfield. 

87  Satsuma  bottle.  Oviform,  resembling  the  graceful  gallipot,  with  lightly 
spreading  foot  and  a single  expansion  in  its  short  neck,  which  is  finished  with  a 
metal  lip.  On  one  face  a single  pine  tree,  lightly  pencilled  in  a greenish  brown 
glaze  of  low  tone  over  a brown  crackled  glaze. 

H.  111/4  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

88  Yatsushiro  vase.  Province  of  Higo.  Unkalcu  decoration,  with  a crackled 

celadon  glaze.  The  vessel  is  in  the  form  of  an  elongated  hopper  springing  from 
or  resting  upon  a low  circular  jar.  Glazed  in  greenish  grey  and  light  sea-green. 
H.  10  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 

89  Satsuma  vase.  Tall  zundo  (cylindrical)  form,  with  a wavering  incline;  heavy 
stone-weight  pottery  of  dark  brown  clay,  glazed  in  a lustrous  black  and  a dark 
green  of  jungle  shadows,  veined  with  olive  yellow  twig-lines  and  greenish  white 
streaks  and  patches,  as  of  indeterminate  trees  and  leaves,  or  sunlight  reflections. 
These  “twig-lines”  are  sometimes  characterised  as  “earth-worm  marks,”  so  vari- 
able are  they. 

H.  10  inches.  Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

90  Satsuma  vase.  Zundo  (cylindrical)  form.  Greyish  brown  stoneware,  covered 
with  a lustrous  truite  glaze  in  the  pearly  grey  and  yellowish  or  creamj^  brown 
tones  of  the  Satsuma  productions.  The  decoration,  in  the  style  of  ancient  Chinese 
drawings  of  the  T'ang  dynasty,  is  engraved  in  the  paste,  at  once  with  a fine  pre- 
cision and  a bold  freedom  of  execution. 

H.  10V2  inches.  D.  at  base,  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 

91  Shiro-Bizen  flower-holder.  Cylindrical,  in  the  form  of  a section  of  bamboo 
trunk,  hollowed  and  surrounded  by  thirty  small  bamboo  stems  in  vertical  posi- 
tion, bound  together  by  interlacing  cords.  Near  the  top  of  one  side  a small  bunch 
of  similar  stems,  half  length,  is  attached  for  ornament.  All  covered  with  a grey- 
white  or  drab  glaze,  with  darker  brownish  patches. 

H.  101/4  inches.  Loaned  by  a collector. 

92  Satsuma  jar.  Tall,  inverted  pear  shape,  flaring  at  the  foot;  the  neck  short 
and  expanding.  Greyish  brown  clay,  thick  and  \evy  heavy;  the  glaze  a variable 
purplish  brown  taking  in  places  an  aubergine  hue,  and  extending  to  the  foot  and 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

the  interior  of  the  neck.  Over  this  glaze,  on  the  shoulder,  is  a thin  mirror-glaze  of 
rich  black  mingling  with  one  of  powdered  tea  colour,  these  being  allowed  to  run  in 
rills  or  streamlets  of  greater  or  less  length  down  the  body. 

H.  14%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


93  Satsuma  flower  vase.  Old  Japanese  bronze  form;  two  grotesque-head  looped 
side-handles.  The  whole  covered  with  a creamy  grey  or  brownish  grey  crackled 
glaze,  both  exterior  and  interior  and  under  foot:  one  face  decorated  under  the 
surface  glaze  with  a tall,  blossoming  peony  in  a dark,  blackish  green  tone  with 
dull  blue  spots. 

H.  12  inches.  Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


94  Karatsu  vase.  Oblate  spheroidal  body  on  a bold  circular  foot,  the  flattened 
shoulder  or  pole  curving  into  a narrow,  short  neck  which  terminates  in  a flanged 
and  lightly  everted  lip.  Dense,  heavy  stoneware  of  dull  brownish  red  or  dark 
jasper  hue,  coated  with  a variable  creamy-brown  and  soft  grey  hakeme  glaze 
(truite). 

H.  15  inches.  D.  13%  inches. 

Loaned  by  Smithsonian  Institution.  (Freer  Collection.) 


95  Tall  decorated  Satsuma  jar.  Ovoidal  with  flattened  shoulder,  short,  full  neck 
and  lightly  flaring  lip.  Varicolored  decoration  with  a predominance  of  black  em- 
bellished with  gold.  The  black  glaze  sweeps  in  broad,  swirling  cloud  bands  about 
the  body,  its  surface  one  of  dull  lustre.  Intermediately  the  body  is  encircled  by 
belts  of  the  multitudinous  wave  motive,  the  wave  lines  executed  in  deep  blue  glaze 
so  generously  applied  as  to  effect  a tangible  relief,  on  a cream-yellow  ground  most 
minutely  crackled.  Disposed  both  among  clouds  and  waves  are  large  chrysan- 
themum flowers,  with  leaves  and  buds,  in  pale  turquoise,  leaf-green,  vermilion, 
white,  bright  blue,  pale  aubergine  running  toward  brown,  light  yellow,  and  gold. 
H.  16  inches.  Loaned  by  Mr.  Samuel  T.  Peters. 


96  Tea  bowl.  Irregular  shape.  Reddish  pottery.  Pinkish  and  grey  glaze.  Im- 
pressed mark  of  Setosuke. 

Loaned  by  Mr.  Howard  Mansfield. 


97  Tea  bowl.  White  Yamashiro  clay.  Pinkish  glaze.  Impressed  mark  of 
Dohachi. 

Loaned  by  Mr.  Howard  Mansfield. 


ni28] 


No.  95 


CHINESE,  COREAN,  AND  JAPANESE  POTTERIES 

98  Tea  bowl.  Cylindrical  shape.  Reddish  brown  pottery.  Silver  grey  glaze  with 
greenish  tint.  Impressed  mark  of  Yoso. 

Loaned  by  Mr.  Howard  Mansfield. 

99  Bizen  sake  bottle.  Hard  stone- ware.  Metallic  lustre  glaze;  grey  and  leaf- 
brown.  Impressed  mark. 

H.  8%  inches.  Loaned  by  Mr.  Howard  Mansfield. 

100  Water  jar.  Kiyomizu.  White  clay.  Ivory-white  glaze,  stained  with  brown 
cloudy  effect. 

H.  6 inches.  D.  6 inches.  Loaned  by  Mr.  Howard  Mansfield. 


C129] 


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